


THE ETCHINGS 
AND 


DRY-POINTS 
OF 


CHILDE HASSAM, N.A. 


of the American Academy 
of Arts and Letters 


With an Introduction by 
ROYAL CORTISSOZ 














































































































































































































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ETCHINGS AND DRY-POINTS @F 
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CA eOGUE OF THE 
PR@niINGsAND DRY-POINTS OF 
ee Eero oViN. A. 


OF THE AMERICAN ACADEMY OF ARTS AND LETTERS 


WITH AN INTRODUCTION BY 
ROYAL CORTISSOZ 





CHARLES SCRIBNER’S SONS 


NEW YORK - LONDON 
MCMXXV 


COPYRIGHT, 1925, BY 
CHARLES SCRIBNER’S SONS 


PRINTED IN THE UNITED STATES OF AMERICA 
AT THE SCRIBNER PRESS, NEW YORK 


THE FRONTISPIECE PROOF IN THIS CATALOGUE IS AN 
ORIGINAL ETCHING BY CHILDE HASSAM, AND WAS 
PRINTED BY PETER J. PLATT, THE BEST KNOWN AND 
ONE OF THE LAST OF THE OLD COPPER PLATE PRINTERS 


THIS CATALOGUE IS LIMITED TO FOUR coe 
OF WHICH THREE HUNDRED AND SESE E ARE | 







INTRODUCTION 


HE test of the painter-etcher is his ability to do with the needle what 

he can do with the brush, to carry over into a black and white art 

something of the quality which is characteristic of his work in color, 
to be himself, in other words, though he may change his wonted instrument. 
It is his meeting of this test that vitalizes Mr. Hassam’s plates. Nothing 
about them, to my mind, is more significant than their complete detach- 
ment from that vein of sedulous emulation of this or that master which is 
so often perceptible in contemporary etching. The influence of Whistler, 
for example, has been widespread and profound. The play of his line 
has fascinated one junior of his after another. Artists of high talent have 
found the readiest outlet for their energy in being “Whistlerian.” Mr. 
Hassam has escaped the temptation to form himself on Rembrandt’s latter- 
day rival. Doubtless, with an artist’s appreciation of masterpieces, he 
has felt the magic in Whistler and even received some obscure inspiration 
from him. I should be surprised if this were not the case. But the con- 
tact has left his artistic individuality untouched. 

In a measure, his originality must be due to the date of his serious con- 
cern with etching, a date coming after his outlook upon life and art had 
been fixed. As this catalogue shows, he drew a couple of French plates 
as far back as 1898, but the first of these was not finished until 1915, and 
the essential work here recorded begins as recently as that year. The 
artist was then forty-six, when he could look back over a long experience 
as a painter. He had been trained in Paris and reviving my memories of 
the first things he exhibited on his return from abroad I see him as an 
exemplar then of the polished realistic method typical of the Salon. He 
painted some capital street scenes at that time but he was in spirit a man 
of the studio, whose key is set by a north window. Presently his art 
suffered a beautiful expansion. Like his friends, Twachtman and Weir, he 
responded to the appeal of Monet and his luminous impressionism, not 
in a mood of imitation but with a heightened sense of the values latent in 
just the free play of light and air. Thenceforth he beat out a style of his 
own in which color and atmosphere were no less important than the truths 


evar 


CNEE ROD GC Ous 





of form which it had previously been his leading occupation to denote. 
I speak here of what might be called the canonical elements in pictorial 
art—form, color, light, and shade, and the great factor of design. But it 
would be an incomplete analysis that failed to take account of a certain 
joie de vivre implicit in all Mr. Hassam’s work. The thing that has stamped 
him has been the happy, inspiriting nature of his impressions of the Ameri- 
can scene. 

Always interested in urban motives, such as appear in more than one of 
his etchings, he has nevertheless been primarily a painter of landscape 
and the sea, of flowers en masse, of the old houses which belong to the very 
structure of our countryside, and of the vivid skies that envelop the whole 
spectacle. I recall designs of his painted long ago on the Isles of Shoals. 
The sea-stained rocks in them and the glittering gardens are bathed in 
light and they seem murmurous with sweet winds. These pictures had 
brilliant color in them and the color was touched by the brightness of a 
jocund world. Along with this truth there came a new personal charm, 
the accent of a fresh and strong temperament. It was in the full possession 
of these resources, with an art ripened and accomplished, that some ten 
years ago Mr. Hassam launched upon the making of his etchings and it is 
only with a realization of his development as a painter that you arrive at 
a just appreciation of his etched work. 

This is the work of an objective designer who may be interested in the 
fashioning of an esthetic pattern but is really far more solicitous about 
the innate character of the subject portrayed. Some of the plates, I know, 
might seem to contradict my remark. The “Elms in May” (No. 43) has 
that balanced rhythmic suggestiveness which one is tempted to ascribe to 
a purely decorative intention. Then it is obvious that a plate like the 
“Rain-drops and Surf” (No. 170) could only have been put together with 
the idea of subordinating the freedom of nature to formal composition. In 
all of those beach scenes which he has enlivened by nude figures the ten- 
dency toward abstract design is plain. But I am taking a large view of the 
subject and despite his not infrequently deliberate movement toward a 
conscious pictorial unity I would say that the broad purpose of Mr. Has- 
sam’s etchings is to give an absolutely direct representation of the thing 
seen. If he does not take it exactly as he finds it we may be sure that at 
any rate he registers visible fact, never seeking in any way to romanticize 
or poetize his subject. Take, in illustration, one of his high-water marks, 


aa 


INTRO 1D U Gel ON 





the study of the bridge over the inlet at Cos Cob which he calls “Old 
Lace” (No. 56). There is a pretty flourish in the title but the plate is a 
sincere statement of ponderable facts, of stout masonry, and swirling waters. 
I would cite this as an outstanding example of the etcher’s simple force, 
and especially, of his painter-like feeling, which transmutes into black 
and white much of both the body and subtlety of color. Note, too, in this 
beautiful design, the potency of the cool, pervasive light. And observe fi- 
nally the nature of the technique. Problems involving the use of long, 
sustained line do not invite Mr. Hassam as successfully as those which call 
for a terser stroke. You feel this in such a plate as the “Fifth Avenue at 
Noon” (No. 77), and you feel it again in the nudes and figure-subjects 
generally. He does not deal in the supple flowing contour, denoted in one 
broad stroke. His touch is rather brief, instead, and he gets his tones 
through fine webs of line. He gets them thereby in a very skilful and sensi- 
tive manner. 

His sensitiveness, I cannot too often repeat, is that of the painter as well 
as that of the etcher and it is further enriched by that instinct for character 
at which I have already glanced. These prints are in large number por- 
traits of places and as such they possess extraordinary merit. I am not 
thinking so much of the early pieces done in France as of those, more char- 
acteristic of the whole collection, which have an intensely American savor. 
No one has more sympathetically interpreted towns like Cos Cob or East- 
hampton, no one has more delightfully made us feel the charm in an old 
Connecticut barn, a tumble-down dock or a bridge flung across one of our 
pastoral rivers. If the etchings are interesting as so many works of easy 
and adroit craftsmanship they are also to be valued as so many studies of 
nature, so many contributions toward the beautiful celebration of Ameri- 
can landscape. There is something in the nature of a tour-de-force about 
this mass of work. Absorbed in the activity of a painter, of one phenome- 
nally prolific, too, Mr. Hassam turns aside and adds a matter of more than 
two hundred etchings to his euvre. It is rather a feat. But, tour-de-force 
though it may be, there is in it nothing factitious, nothing of the artificiality 
which the phrase customarily connotes. Mr. Hassam has never been 
more spontaneous or more genuine than in his etchings. 


Roya. Corrissoz. 


{ vii } 


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Chie Ree ROM OS HPHOPENNEDLL 





February 23, 1923. 
Dear Hassam: 

I have been looking at your new plates, and at some of the old ones, 
which Keppels tell me you are about to show in their gallery. I think it 
will be a most interesting exhibition, for two reasons: first, because the 
plates are good, and, second, because they are your own subjects. They 
are you and that is what most etchers’ work is not, though that to be 
yourself, to be personal, as you and I know, 1s the basis of all etching which 
is worth anything, but most etching 1s worth nothing! Besides your things 
are not the products of sudden commissions to fill a long-felt want, or to 
be in the fashion of the moment, of rapid trips with only time to make bad 
sketches, often only to buy picture postcards, and then rush back to try 
to accomplish the impossible, though the manufacture of such machines may 
fill the manufacturer’s pockets and fool his public—but the subjects of your 
plates are the subjects you know, the motives about you that you always 
have known, and now in your ripe years are able to put on copper when 
you want and because you know they can only be done by that fascinat- 
ing, entangling, maddening method—etching! 

But, my dear Hassam, why am I writing this poppy-cock and drivel? 
You know and I know, and mighty few other of the people who have rushed 
into art in this country know, that America, our country, is full of sub- 
jects, and that our New York is the most marvellous and endless subject 
on the face of the earth. We have been trying to show this, and teach this, 
and put our preaching before the blind, the halt, and the thieves we have 
been the prey of for years, and your show is another proof that New Eng- 
land is also worth doing, that there are American women still left who do 
not look like flappers, that there are other methods besides tracing photo- 
graphs, of drawing nudes, and that there are other ways and other mo- 
tives than even yours and mine for etching New York. 

These are the reasons why I like your work, built up “on the knowledge 
of a lifetime,” and not upon expressionism, cubism, incompetence and con- 
ceit, the backbone of the rot and rubbish foisted by strange sharpers and 
incompetents—there are lots of blatant Americans, as they call them- 
selves, among them—fooling the most gullible and ignorant public in the 
world, crying they know not why, save as an investment, for art and get- 
ting artlessness, but cocksure in the valor of their ignorance. 


{ix} 


DETTE REE ROM? )0 75 EP Po baNeN Fre 





We also know that James McNeill Whistler is the greatest of etchers, 
because his aims and his accomplishments were the highest in his practice 
of “the science of the beautiful” in the science of etching the most per- 
fect and not the easy, empty products of a misspent day. And sure in our 
convictions and in our beliefs we will goon, my dear Hassam, till the end 
of the chapter, to the best of our ability, founded upon the traditions of 
the ages in art, and not upon the latest fake and cut to escape beauty and 
avoid work; for we know that without the highest aims and the hardest 
work, nothing decent can be done. Most people in art don’t know enough 
to come in when it rains, or dare to go out for fear they will get their feet 
wet. And we are also, though that is not our aim, showing the people 
that they can collect good work without being millionaires, and that if they 
collect—these collectors—the works of their contemporaries rather than 
confining themselves to the works of their predecessors, they will be doing 
something for art, something for artists, and something for themselves. 
We, you and I, in our prints are giving them the chance and are going to 
go on doing so. Because we love art, and because we love this undiscov- 
ered country—our country—which is full of art—though near swamped by 
artless artfulness. 

So let us go on together. We started together, we have worked together 
as friendly rivals, each in his own way, and we will go on together to the 
end, 

JosepH PENNELL. 


{x} 


GONTENTS 


INTRODUCTION 

LETTER FROM JOSEPH PENNELL 
BIOGRAPHICAL NOTE, LIST OF HONORS 
CATALOGUE 


INDEX 





BIOGRAPHICAL NOTE 


of the city of Boston, October 17, 1859, of direct English and Ameri- 

can (1776) stock. Frederick Fitch Hassam and Rose Hathorn were 
his parents. Hassam is a variant (one of several as found on old deeds) 
of Horsham. This first William Horsham settled near Salem. William 
Hathorn came to Dorchester from Salem in 1631, having one of the Dor- 
chester grants of land. His middle name is for an uncle by marriage, 
George Childe. His father’s mother was Mary Hunt, of Charlestown, 
New Hampshire, daughter of Roswell Hunt. This family is made emi- 
nent by William Morris Hunt the painter and his brother the architect. 
It is perhaps worthy of note that the artist 1s connected with two names 
well known in the annals of the art of his country and in the case of Haw- 
thorne—of the world. 

Childe Hassam was educated in the Boston public schools and then 
studied art in Boston and, later, in Paris. He has received the following 
awards: Bronze medal, Paris Exposition, 1889; gold medal, Munich, 1892; 
gold medal, Philadelphia Art Club, 1892; medal, Chicago Exposition, 
1893; prize, Cleveland Art Association, 1893; Webb prize, Society American 
Artists, 1895; prize, Boston Art Club, 1896; medal, Carnegie Institute, 
Pittsburgh, 1898; Temple gold medal, Pennsylvania Academy Fine Arts, 
1899; silver medal, Paris Exposition, 1900; gold medal, Buffalo Exposition, 
1g01; gold medal, St. Louis Exposition, 1904; Thomas B. Clark prize, 
National Academy, 1905; gold medal, Carnegie Institute, Pittsburgh, 1905; 
Carnegie prize, Society American Artists, 1906; Walter Lippincott prize, 
Pennsylvania Academy Fine Arts, 1906; Jennie Sesnan gold medal, Penn- 
sylvania Academy Fine Arts, 1910; Third W. A. Clark and Corcoran bronze 
medal, Corcoran Gallery, Washington, 1911; First W. A. Clark and gold 
medal, Corcoran Gallery, Washington, 1913; Hudnut prize, American 
Water Color Society, 1919; water-color prize, Philadelphia, 1920; gold 
medal of honor, Pennsylvania Academy Fine Arts, 1920; gold medal, 
Philadelphia Art Club, 1924. 


TREDERICK CHILDE HASSAM was born at Dorchester, now part 


{ xiii } 


BLOG RA EEC aN Otel 








He is represented in the following permanent collections: Pennsylvania 
Academy Fine Arts; Carnegie Institute, Pittsburgh; Cincinnati Museum, 
Buffalo Fine Arts Academy, Boston Art Club, Rhode Island School of 
Design, Art Club of Erie; Corcoran Gallery, Washington; Indianapolis 
Institute, Savannah Museum; Smith College, Northampton, Mass.; Freer 
Collection, Washington, D. C.; Metropolitan Museum of Art, New York; 
National Gallery; Walters Gallery, Baltimore; Smith College, Portland 
(Oregon); Art Museum, Art Institute, Chicago; Detroit Museum, Worcester 
Museum; City Art Museum, St. Louis; Museum Fine Arts, Boston; Brook- 
lyn Museum; Duncan Phillips Collection, Washington, D. C. 

He is a member of: Ten American Painters, New York; Société Nationale 
des Beaux Arts, Paris; The Secession, Munich; American Water Color 
Society, National Institute Arts and Letters, American Academy Art 
and Letters. 


{ xiv} 


COMUANUOIGIENS (Ole le te 
ETCHINGS AND DRY-POINTS OF 
CHILDE HASSAM 















NOTE / 


The plates are extant unless accounted destroyed and the 
number of proofs that exist is stated. Proofs of the etchings 
marked M. F. A. were shown in the exhibition of the artist’s. 
etched work at the Museum of Fine Arts, Boston, 1922. 

Those marked C. I. were shown in the exhibitions of Mr. 
Hassam’s etchings at the Carnegie Institute, Pittsburgh, i in? 
1916 and 1922. Those marked A. I. C. were shown at ee ; 
Art Institute, Chicago, at the time of the artist’ 8 exhi on 
of paintings, 1917. Those marked L. A. M. were ex 
in the Los Angeles Museum as this book went to press, 1925. y aie 
Where proofs are owned by such public Museums it ape 3 
stated. ote 





CMS OGWE LOE 
iE ELCEINGS AND DRY-POINTS 
OF CHILDE HASSAM 


feeoR TEE ST. MARTIN 


11 by 7% inches. Signed: C. H. 1898 near right margin. Begun in 1898, 
taken up and finished in 1915. Made from drawing now in collection of 


R. B. Moore. 


Three states. Various graver additions in the arch and dry-point through 
the arch. 21 proofs. Plate destroyed. 


Cail 


Through the arch, which is in the centre of the plate, pass a number of carriages 
and barrows. Shops on the right with pedestrians on the sidewalk. 


peer WRN OF THE LUXEMBOURG 


11 by g inches. Signed: C. H. 1898 in foliage upper left corner. Made 
from drawing now in collection of R. B. Moore. Begun in 1898, taken up 
and finished in 1915S. 


23 proofs. Plate destroyed. 
CAE 


A scene in the park with nursemaids and children seated in the foreground. A bal- 
ustrade crosses the centre of the composition. A marble statue on a pedestal is in 
tiewleit centre. 


3. LANNION 
4 by 5 inches. Unsigned. 
Childe Hassam’s second continuous attempt at etching in IgI¢. 


2 proofs only as plate was accidentally destroyed. One in the collection of 
John E. Dr Trask,” Ones inj thevcollectionsote Ka by locre: 


CBE 
tee 


TH EAE GHIN GeeO He Eile ieee soe alyt 





4) ol OH PULCER Pees Lignin 
7 by 4% inches. Signed: C. H. 1915 in the sky, upper left corner. 


Done from a drawing. Collection C. E.S. Wood. 11 proofs only as plate 
was destroyed in rebiting it. 


Gaal: 


The facade of the church showing the iron fence and the sidewalk on which there 
are five figures lightly etched. 


6.) (LEE TAU BI bea bet 


98 by 4% inches. Signed: C. H. 1907 in lower left corner. 

Done from a drawing made in 1907. Now in collection of R. B. Moore. 
20 proofs. Plate destroyed. 

als 


Standing figure of a nude woman facing out. In left hand, which is uplifted, she 
holds a laurel wreath. 


Os SELES ites 


67% by 538 inches. Signed: C. H. 1905 in lower right corner. 

Done from a drawing made in 1905. In collection of C. E. S. Wood. 
11 proofs. Plate destroyed. 

Comes 


A nude figure of a woman faced toward the right stooping in the act of gathering 
lilies. 


7, “VHESDL ET EESPOOU VA PRE RDG ts 
5% by 3 inches. Signed: C. H. 1915 in lower right corner. 


Done from a drawing made at the Isles of Shoals. Collection R. B. Moore. 
Various states with dry-point additions. 
Coa 


Standing figure of a nude woman in the water with rocks on either side and at the 


back. 


Sa TIE SOR ERS 
5% by 4 inches. Signed: C. H. 1915 near right margin. 


Done from a drawing made one evening from a box at the opera. Collec- 
tion Carter Harrison. Plate destroyed. 9g proofs only. 


Cel. 


Figure of a woman seen in profile in an opera box looking out over the audience. 


{2} 


tebe eh Gos) he Gl DEyHASSAM 








I4. THE ATHENAEUM, PORTSMOUTH 814 by 574 inches 


9. CONTRE-JJOUR 
7 by 5% inches. Signed: C. H. 1g1§ in lower left corner. 


Done from model. Drawing also exists. Collection Carter Harrison. ‘The 
painting (for which the drawing was made) is in the permanent collection 
of the Art Institute, Chicago. 


Cel. 


Woman in profile facing to the right, seated in a chair over which her right arm rests. 


pom ESI POINT 
3% by 5% inches. Signed: C. H. 1915 in the sky. 
Done from nature in June, 1915. 
Car. 


A view taken from the river, the famous war school buildings on a promontory in 
the centre. Across the back are mountains. 


{3} 


DH Ee Bet CECUN GS?0 bee 1D iia ead 











15. THE OLD CUSTOM HOUSE, PORTSMOUTH 534% by 634 inches 


11> REET INSNEW BURGH 


6 by 4% inches. Signed: June, Newburgh, C. H. 1915 in lower right 
corner. 


Done from nature in June, 1915. 
Cal. 


A steep street with frame houses looking down to the river. To the left a large tree. 
Mt. Beacon and Fishkill Landing in the background. 


T2; sLONG BEACH 
5¥% by 6% inches. Signed: C. H. June, 1915 in lower right corner. 
Done from nature in June, 1915. Plate destroyed. 13 proofs only. 
Ceol 


A view on the boardwalk crowded with people. To the left the beach with many 
bathers. 


{4} 


i Eee PNG OF CHIE DESHASSAM 





x 





16. ‘THE CHIMNEYS, PORTSMOUTH 578 by 8 inches 


Paolo WAREHOUSES, PORTSMOUTH 


5% by 6% inches. Signed: Portsmouth, C. H. Aug. 30, 1915 in lower left 
corner. 


Done from nature. 


Crm: 


The backs of a row of fine old brick buildings on the Piscataqua River. Behind the 
buildings is seen a church tower. In the foreground the river and old docks. 


i” THE ATHENAEUM, PORTSMOUTH 


8% by 5276 inches. Signed: Portsmouth, Ca Ho 19015 with) Dot in 
lower left corner. 


Done from nature in Miss Dorothy Whitcomb’s car. 
Crd SE eva 


The facade of the masterpiece by Charles Bullfinch. In the arched doorway are 
three figures. An arched window on either side of the door. Above the first floor 
are four columns supporting the cornice. This 1s one of the three buildings by Bull- 
finch in this beautiful old American town. 


{5} 


THEe ie) OEUINGSs Ob C Pilde peas ovat 





15. THE OEGDsCUS TOMA OUSE SCORTShiOU ii 
538 by 634 inches. Signed: Portsmouth, C. H. 1915 in upper left corner. 
Done from nature in August, IgI5S. 


mal 
An old building on the corner of the street. A colonial doorway with columns in the 
centre. An old doorway in the same style at the left. Six windows with arched tops 
in second story. On the sidewalk two men conversing. This building is possibly 


by Bullfinch. 
16. THEIGCHEMNEYS PORTSMOUTH 


57% by 8 inches. Signed: Portsmouth, C. H. 1915 in lower left corner. 
Done from nature 1n August, 1915. 
Proof owned by Carnegie Institute, Pittsburgh. 


Co ay ra eh 
A view of the city from across a pond showing many old houses all with fine chim- 
neys—hence the title—and elm trees. To the left of the centre over the roofs and 
trees appears the tower of an old church. 


[ioe EL Or te nals 
434 by 7 inches. Signed: C. H. 1915 in upper left corner. 
Done from a drawing made at Old Lyme. Plate destroyed. 8 proofs 
only. 
ead 


An ox-cart laden with wood drawn by two oxen faced to the right. 


10.8 SUNSET CONS A Diese ein 
5 by 6% inches. Signed: C. H. 1915 in lower right corner. 
Done from a point drawing. In collection of Wm. Preston Harrison. 


Cal wer Vie ieee 
A view across the lower bay at sundown with houses and very tall smoking stacks 
in the middle distance. To the right several boats are anchored. 


19. MADISON SQUARE 
4 by 5% inches. Signed: C. H. 1892 in upper left corner. 


Done from a drawing made in 1892. Collection of Wm. Preston Harrison. 
Plate destroyed. 8 proofs only. 
Gm: 
The Square on a rainy evening. In the foreground three men in long coats. In 
the background houses, cabs, and pedestrians. 


16} 


ei cee tan Gor Gh Ti DES HAS SAM 





BOmmeICALNY DAY. She MARKS 


7 by 4% inches. Signed: C. H. 1915 in lower right corner. 
Done from a point drawing. Collection C. H. 


Gaik 


The old church with its tower is seen behind a row of trees. In the foreground the 
wet street. A hansom cab and a woman with a pushcart in the foreground. 


a1. LHE DANCE 


11 by 7% inches. Signed: C. H. 1915 in lower right corner. 

Done from a drawing. Collection B. Dyer. 

First state, before several of the figures to left and right were removed and 
further work added. About 6 proofs printed. 

Second state, with the changes mentioned above. About to proofs 
printed. 


Third state, with further work on spot to left where the woman holding 
the mirror had been. The figure to the right, partly covered over with 
additional work in the second state, now emerges with face rendered 
visible, and with uplifted hand and scarf in gesture of waving. 


Geek 


Two draped female figures in Greek dance in the foreground. To the left a cliff 
and tall trees. Other dancing figures to the rear and on the right. 


peed Pe AURBL DANCE 


7 by 7 inches. Signed: C. H. 1919 in the foliage near lower right margin. 
Done from note taken at a festival at Mt. Kisco, June, 1915. 


Cal 


Two draped female figures with hands clasped dancing before a background of 


foliage. 


pee Lil Y (RESTING 


4 by 5% inches. Signed: C. H. 1915 near upper margin. 


Done from life between poses for a painting of Kitty Hughes, who posed 
for many of the artist’s works. 


eal 


Nude female figure lying on a couch with arms over her head. 


Atel 


PHE ET CHING Ss0 be CHT ieD Era So Aw) 











SNe Re Serpent”. | 


18. SUNSET, CONSTABLE’S HOOK 5 by 676 inches 


24. MOONRISE AY SUNSEL 


434 by 6% inches. Signed: C. H. near lower margin. 

Done from a point drawing. Collection R. B. Moore. Plate destroyed. 
3§ proofs only. 

eal 


A small lake with wooded shores and mountains in the background. In first state 
there are three nude figures in the foreground. In the second state there are but 
two. 


25 JUNE 
514 by 3 inches. Signed: C. H. 1915 in lower right corner. 


Done from a drawing for the painting of the same name. Collection Wm. 
Preston Harrison, Hassam room, Los Angeles Museum. Plate destroyed 
13 proofs only. 


ek 


Nude female figure in profile toward the right with mountain laurel to the right 
and left. 


13} 


fe eee eG GonO.R OHI Dh HAS SAM 





26. NUDE, HAMADRYAD 
6% by 4% inches. Signed: C. H. 1915 in upper right corner. 


Done from life. Plate destroyed. 23 proofs only. 
Cal: 


Three-quarter length nude female figure standing between heavy curtains. 


Pate ETCHER 
7 by 4% inches. Signed: Cos Cob, C. H. 1915 near lower margin. 
Done from nature. 
Childe Hassam in Harold Eby’s studio at Cos Cob. 
Plate destroyed. 21 proofs only. 
Crit 


A standing figure in painter’s smock against an open door. To the left a vista into 
a low-ceiled room in which is a colonial armchair. 


pose READING IN BED 
67% by 534 inches. Signed: C. H. in lower left corner. 


Done in his New York apartment from life in a half-hour sitting. A 
portrait of Mrs. Hassam. 


Geb 


Woman reading, reclining against pillows in a four-poster bed with a high canopy. 


Poe iE GEORGIAN CHAIR 


5 by 4 inches. Signed: C. H. 1915 in the open window. 


Done from life at Exeter, New Hampshire. A portrait of Miss Dorothy 
Whitcomb. Plate destroyed. 16 proofs only. 


eek 


Young woman in a white dress seated in a large wing-chair looking to the left out 
of an open window. 


Pome riba EL hee SPIrAN® 
s by 4 inches. Signed: C. H. 1915 on music book. 
Done from life (Miss Muse Costello) in an impromptu sitting at New York. 


There are slight variations in the proofs due to additional work too vague 
to mention. Plate destroyed. 38 proofs only. 


Cole 


Young woman seated at a piano. She is turned to the left. 


{9} 


THEO Bet GHUNGS?@ ERGH Ll Eee oss2 ory) 








33. THE OLD TOLL BRIDGE 676 by 536 inches 


aie, bate WAU ORO TOU 
7 by 9% inches. Signed: Cos Cob, C. H. 191g in lower right corner: 
Done from life in one short sitting. 
A portrait of Harold Eby in his studio at Cos Cob. 


First state, before the nose and contour of the neck were slightly rubbed 
down. About 8 proofs printed. Second state, with the changes men- 
tioned above. Plate destroyed. 25 proofs only. 


Cre 


Young man with pipe in his mouth seated in an arm chair drawing upon a table 
on which there are a number of artist’s materials. In the background a colonial 
mantel. 


{10} 


eit Eee te WN oe) Heh Rie D BAS SA MM 





p25 COB 


67% by 5 inches. Signed: Cos Cob, C. H. 1915 in the water at lower right 
margin. 


Done from nature. 
A view of Harold Eby’s studio by the waterside. 
ANUS) SY Bt ia 


The left bank of the tidal inlet on which there are several houses and sheds. In 
the foreground are two boats moored to the bulkhead, the larger with an awning. 
This is the plate that, after some dry-point work in the upper right-hand part of 
the composition, has been steel-faced and used as the frontispiece for this book. 


pom OLD POLE BRIDGE 
67% by 538 inches. Signed: C. H. 1915 in lower left corner. 
Done from nature at Stratham, N. H. 
Proof owned by Carnegie Institute. 
Geile ghost (12 AlMi 


A typical chain hoist old style toll bridge crosses a stream. In the background a 
wooded shore and several houses. 


pee EMER S DOCK, COS COB 
77 by 5% inches.’ Signed: Cos Cob, C, Hy to1s near the left margin. 
Done from nature. 


First state, before the dark reflections underneath the dock were slightly 
changed. About five proofs printed. Second state, with the changes 
mentioned above. 
Cal: 
A small dock on slender piles on which stand two men. To the left a tow boat, to 
the right several row boats with occupants. 


oo ULE BARGES 
5s by 7% inches. Signed: Cos Cob, C. H. 1915 in upper right corner. 
Done from nature at Cos Cob. Plate destroyed. 13 proofs only. 
Cal 


Three barges with deck houses anchored at a railroad bridge. On the barge to the 
right an awning. In the background towers carrying wires. To the left a wooded 
shore. 


Tee 


VPHEY ETCHINGS SO By CL LISD Rai at ocie\i 











34. PALMER’S DOCK, COS COB 71% by 5% inches 


36. THE BREAKFAST ROOM 


11 by 7% inches. Signed: C. H. June, 1915 near the right margin. 
Done from nature at the Holley House, Cos Cob. Plate destroyed. 12 
proofs only. 

Crale 


Young woman, Miss Caroline Maes (a direct descendant of Nicholas Maes), who 
was a talented member of the Cos Cob art colony, being a pupil of J. H. Twachtman, 
standing to the right at a table on which her hand rests. On the table are three 
vases holding flowers. In the background an open door. The dining-room in “The 


Old House.”’ 
{12} 


TES EeaO HEN Goto heCH le DEeHAS >A MM 





pp UAINTING FANS 


6%% by 11 inches. Signed: C. H. 1915 in lower right corner. 


Done from nature in the Holley House, Cos Cob. Plate destroyed. 9 
proofs printed. 


Gral. 


Two young women of the Cos Cob art colony seated at a round table painting fans 
for a fair. In the background a casement window with curtains. 


38. CONNECTICUT BARNS 


mDyeove inches. signed: Cos Cob, ©, Hi 1915; Sépt. 27 on barn to the 
left. 

Done from nature. 

The Brush barn at Cos Cob. 

Plate destroyed. 17 proofs only. 

Col WO eee 


Three barns in the form of an L. The doors in the barn in the back are open, showing 
the interior with cattle and wagons. In the shadow cast by the barn in the fore- 
ground are several chickens. 


poem OLD HOUSE 
6 by 734 inches. Signed: Cos Cob, C. H. 1915 in lower right corner. 
The old Holley House as it was one hundred years ago. 
Underbitten, plate destroyed. 12 proofs only. 
ted 


The gable end of an old house by the river in which there are five windows. Tall 
trees on either side cast shadows on the house. 


Pome OLD HOUSE, CONNECTICUG 
61% by 734 inches. Signed: Cos Cob, C. H. 1915 in lower right corner. 
Done from nature. 
The Brush house by the waterside, Cos Cob. 
Plate destroyed. 10 proofs only. 
Ca cen ber 


The front of an old house with double piazzas. A flight of steps leads to an ad- 
joining house in which there is a store to the upper piazza. To the left a large tree 
which casts a shadow on the house. 


{13} 


AEE Ee iC HEN GSO Hat CEe ap Eel aro eV 








38. CONNECTICUT BARNS 7 by 934 inches 


4 MOONLIGHT EA bsOLDeHtOUSE 
73% by 934 inches. Unsigned. 


Done from nature. Overbitten, plate destroyed. About 4 or 5 proofs 
printed. 


42. LONG RIDGE | 
738 by 8% inches. Signed Sept. 28, Long Ridge, C. H. 1915 near lower 
margin. 


Done from nature about fourteen miles inland from Cos Cob. Plate 
destroyed. 15 proofs only. 
Cols 


A rolling landscape over which a road bordered by stone walls runs. Houses and 
barns to the left of the road. 


{14} 


teen Coe O te CHI Dp benASS AM 











43. ELMS IN MAY 634 by 1078 inches 


43. ELMS IN MAY 
634 by 10% inches. Signed: Yarmouth, C. H. 1909 in lower right corner. 
Done in October, 1915 from a drawing executed at Yarmouth in 1909. 
Collection Wm. Preston Harrison. 


The Whitcomb elms at Yarmouth, Maine. Entrance driveway to a 
house which had been burned down. 


rave. 


A row of eleven elms in spring foliage. Groups of blossoming trees in the distance. 


fame OLD GHERRY TREE 
7% by 9% inches. Signed: C. H. lower left corner. 
Done from nature. 
The arbor and lane back of the Holley House at Cos Cob. 
Plate destroyed. Ig proofs only. 
oe ab 


An old cherry tree against which leans a ladder is at the right of the entrance to a 
garden. A house in the background. 


{15} 


THE ETCHINGS (OF CHTEDESHAS > yL 





A5. LOW RIDES COssCOBeb RICE 
734 by 10%% inches. Signed: Cos Cob, C. H. 1615im upper eit commer 


Done from nature in October, Ig1¢. 


First state, before the river bed was darkened and the pile of stones in 
front covered with light lines. About 15 proofs printed. Second state, 
with changes mentioned above. Additions in January, 1916. Plate 
destroyed. 29 proofs only. 


Carle 
A view of the river at low tide. A barn to the left. Across the river in the middle 


distance is the great steel N. Y., N. H. & H. railroad bridge over which passes a train 
of freight cars. 


AO) = EEA PRD EBOOK 
10 by 8% inches. Signed: C. H. 1915 near left margin. 


Done from nature at Cos Cob. 


First state, before the figure of the girl was replaced by flowers and still 
life. 3 proofs printed. Second state. 

Childe Hassam started to burnish down the waist of the figure and the 
plate went to pieces, being a bad piece of copper, so he put in the vase 
and flowers and experimented with the plate, using the burin, dry-point, 
burnisher and all the various devices for etching on copper—or rather 
changing an etching on copper into an entirely different state. Plate 
destroyed. 17 proofs only. 


ele 


47. THE WHITE KIMONO 
738 by 10% inches. Signed: C. H. 1915 near right margin. 
Done from nature. 
A fireplace in the Holley House at Cos Cob. 
The model was Miss Helen Burke. 


Proof owned by Metropolitan Museum of Art, New York. 
Xi UN Lee 


An interior in which is a colonial mantel against which rests a girl in a white figured 
kimono. A number of articles on the mantel and to the right a table on which there 
is a dish of fruit. 


{16 } 


saqour $fo1 Aq 8¢éZ ONOWIMN S3LIHM AHL ‘LP 


























4 





UEC ee Cll lNs > OH Clit DE HASS AM 








49. THE DUTCH DOOR 8368 by 97% inches 


foe UGCINDA OF NEW: YORK 


634 by 6% inches. Signed: Cos Cob, C. H. 1915 under roof of house. 
Done from nature at Cos Cob. Plate destroyed. 
(eal, 


A view of the river bank, to the left a barn and dock, against which is moored a 
coal barge. The railroad bridge in the distance. 


22 proofs only. 


49. THE DUTCH DOOR 


834 by 9% inches. Signed: C. H. 1915 in left margin by the flowers in 
are 


Done from nature. 

One of the doors of the Holley House at Cos Cob. 

The model was Miss Helen Burke, daughter of Toby Burke. 
Cally MS eA oo eA Me 


An interior of a colonial room flooded with sunlight from windows and an open 
Dutch door. In the doorway a girl in a light dress. 


A bird cage hangs outside sus- 
pended from the roof of the veranda. 


{ 19 } 


THESE EF CHINGSsOR- CHIP DESIASS st 





40. THE WHITE MANTEL 
67% by 9% inches. Unsigned. 
Done from nature. 
The fireplace in the dining-room of the Holley House at Cos Cob. 
The model was Miss Helen Burke. 


Gla. Vis 


An interior with a colonial mantel on which are a clock, candle sticks, and several 
other articles. To the left of the mantel is a seated figure of a girl in a white figured 
kimono. 


Fiee LE ERC OLO MNase 
67% by 9% inches. Signed: C. H. 1915 in upper left corner. 
Done from nature. 
A room in the Holley House, Cos Cob. 
Plate destroyed. 20 proofs only. 
Gale ve 


A young woman in white seated to the right of a colonial table on which are globe 
with fish and a vase of blossoms. 


52. THE STEPS 


10% by 7% inches. Signed: Sept. 19, 1915, Cos Cob, C. H. near right 
margin. 


Done from nature. 


A portrait of Mrs. Elmer Livingston MacRae, on the steps of the Holley 
House at Cos Cob. 


Ge lea Vis Ha Se NL 
Proof owned by Metropolitan Museum, New York. 


A flight of stone steps leading to an open door. A young woman with a basket of 
flowers ascending a flight of stone steps. 


53. “THER OLD HOUSES GOS COE 
638 by 836 inches. Signed: Cos Cob, C. H. Oct. 27, 1915 in lower right 


corner. 

Done from nature. 

A view of the Holley House at Cos Cob. 
Calle ARM: 


An old house with double piazzas standing on a terrace. To the right a large tree 
whose branches overhang the house. 


{20} 





THE STEPS 


AARON T ie se 3 


10% by 7% inches 





(Peer EN Gore CHD EaHASSAM 








53. THE OLD HOUSE, COS COB 638 by 838 inches 


poet WRITING DESK 
io by 7 inches. Signed: Cos Cob, C. H: 1615 supper right corner. 


Done from nature. 

A portrait of Mrs. Hassam at the Holley House. 

Cole Sh eee Me eve 
A lady facing to the right is seated at an open writing desk placed beside a 
window. 


Pee POY 5, COS,/COB 
67% by 8% inches. Signed: Cos Cob, C. H. 1915, Oct. 31 in lower left 
corner. 
Done from nature. 
Toby Burke’s public house at Cos Cob. 
Gee ee oat ot Aa Leen |e 


An old house, the lower part of which is a country bar; on a veranda above and be- 
hind the open-work railing is a seated figure. In the foreground are two Italians 
with a hand organ. 


{ 23} 


THESE ECHIN GSsOt Gh pr S resort! 








54. THE WRITING-DESK 10 by 7 inches 


- Ce OND EACH 
7 by 7 inches. Signed: Cos Cob, C. H. 1915 in lower right corner. 
Done from nature, October, Ig15. 


A view of the bridge and Cos Cob inlet at low tide. The delicate pattern 
and tracery of the design suggested to Mr. Hassam the title, Old Lace. 


One of the most delicately bitten plates, technically, in the etched work of 
the world. 


Cul ae alas 
Proofs in the Carnegie Institute, Pittsburgh; and the Los Angeles Museum. 


In the foreground are several boats left dry by the receding tide. Back of the bridge, 
which crosses the composition, are a number of houses and many trees. 


{ 24} 


Pe rseGOtNGSoFOrRTGH TL DE HASSAM 








55. TOBY'S, COS COB 674 by 874 inches 


Fao DUTCH CHURCH] FISHKIEE VILLAGE 
738 by 103 inches. Signed: Fishkill, June 4, C. H. 1915 in lower right 


corner. 
Done in November after a drawing executed in Fishkill early in June. 
Collection R. B. Moore. 


Harvey Birch, hero of James Fenimore Cooper’s novel “The Spy,”’ is sup- 
posed to have sought refuge in this church. 


First state, before the bare spaces in lower clumps of foliage were covered 
with cross lines and other bare spaces on the trunks covered with fine 
lines. About 8 proofs printed. Second state, with changes mentioned 
above. Plate destroyed. 29 proofs only. 


Gaile 
The facade of the old church. In the foreground are two large trees. 


{25} 


TPH ESE tT CHEN Gio Ke Crap eros Sve 





ek LEO sy (Os 1BIGIC Ss 
83% by 6% inches. Signed: Cos Cob, C. H. 1915 near left margin. 
Done from nature in November, 1915. 
Another view of Harold Eby’s studio by the waterside. 
Gio lSVLS Bar A ae Le oe ie 


Proofs in the Metropolitan Museum of Art, New York; and the Los 
Angeles Museum. 


A view of the tidal river bank, at low tide. On the bank to the left is a row of 
sheds, and in the foreground a number of boats which have been left dry by the 
receding tide. 


50a DO REA 
51% by 436 inches. Signed: C. H. New York, 1915 near the left margin. 
Done from life in November, 1915. 


First state, before fine dry-point lines were added on neck, breast, and 
face. About 15 proofs printed. Second state, with the changes mentioned 
above. There are no blank spots on the model’s right cheek and the right 
side of the nose. Plate destroyed. 26 proofs only. 


ee he 


Head of a young girl three-quarters to the right with hair unbound. 


GOmme VRS: 
11 by 7 inches. Signed: C. H. 1915 in upper right corner. 


Done from life one day in December, Ig915, in two short sittings broken 
into by lunch. Plate destroyed. 20 proofs only. 


A portrait of Mrs. Hugo Reisinger, then the wife of the well-known col- 
lector, now Mrs. Charles Greenough. 


(Ck 


A portrait of a lady full length in a light dress seated in a large chair looking to the 
left. 


61. Y OUNGIPANSELEING 


638 by 7% inches. Signed: Christmas, C. H. 1915 in lower left corner. 


Done from a pastel drawing in the collection of Mrs. C. E.S. Wood. Plate 
destroyed. 12 proofs only. 
A rocky landscape in which are a number of small trees. In the foreground, seated, 
facing to the right is a young Pan piping. 


{26} 


BO. OLD LACE 


mn HTS 
Vere apt 





7 by 7 inches 


re ‘th 


rs 


er 





ec oer uN Gogo) Pe Or tie D Be HAS SAM 








58. COS COB DOCK 834 by 61% inches 


62. CALVARY CHURCH IN SNOW 


7 by 47% inches. Signed, December 27, C. H. 1915 in lower left margin. 
From a drawing made in New York in 1904. Collection C. H. 
Cale EE Ase ea le 


A view of the church at Fourth Avenue and 22d Street covered with snow. In the 
street are several pedestrians and a horse and carriage. 


{ 29} 


DHE ETCHING S20 PiGi Wi D Ear Dt 








59. PORTRAIT 5% by 43% inches 


637) [HES VAR BER eG aes 


57% by 3% inches. Signed: C. H. 1916 in lower right margin. 


Done in January, 1916, from a drawing executed out-of-doors at Cos Cob 
the previous summer. The young daughters of Cos Cob artists who were 
always allowed to run around nude on the various picnics of their parents 
and friends. Collection C. H. Plate destroyed. 8 proofs only. 


Three nude figures on the beach. 


THE SCARF DANCE—FOUR FIGURES 


67% by 6% inches. Signed: C. H. 1916 in lower right margin. 


Done in the studio in January, 1916, from posed models and the back- 
ground taken from notes made at Mt. Kisco. Plate destroyed? ai 
proofs only. 


THE BUTTERFLY DANCE—ONE FIGURE 


534 by 334 inches. Signed: C. H. 1916 in lower right margin. 


Done in the studio January, 1916, from Kitty Hughes and with background 
made from notes taken at Mt. Kisco. 


{ 30} 


Tee Se GltiNGs On CHLLDE HASSAM 





66. THE CHURCH ACROSS THE WAY 
818 by 438 inches. Signed: New York, C. H. 1916 in lower left corner. 
Done from nature from the studio window in January, 1916. 


Calvary Baptist Church in 57th Street, the roof of which covered with snow is seen 
from an elevation. On the sidewalk in front of the church are a number of pedestrians. 


beep AE LERY PARK 
1234 by 7 inches. Signed: New York, C. H. Jan. 18, 1916 in lower left 


corner. 
Done from nature on the plate. The print therefore appears reversed. 


First state, before the shadows on the panes of the building to the left and 
on the Singer Building were rubbed down. About Io proofs printed. 


Second state, with the changes mentioned above. The cast shadows on 
the building directly below the Woolworth Building have been rubbed down 
and altered in shape, continuing the eye still further down underneath the 
elevated railroad. There are now two light spots where there was only 
one before. 


A view of the park looking up Broadway with the Woolworth Building in the back- 
ground. In the foreground benches, on which are seated figures, and across the mid- 
dle distance the elevated railroad. 


bom OLLING TON > BIR THDAY— 
iieheA VE INU E Se 23dyo hh bBo 


1234 by 7 inches. Signed: C. H. New York, Feb. 22, 1916 on the flag 


near left margin. 
Done from nature with the aid of hasty notes. 


First state, before the cast shadows of the Metropolitan Tower were added 
on the lower part of the Flatiron Building. About 10 proofs printed. 
Second state, with the changes mentioned above. 


A view down Fifth Avenue, which is decorated with flags and crowded with automo- 
biles. In the background the Flatiron Building. 


69. MANHATTAN 
5% by to inches. Signed: C. H. Brooklyn in lower left corner. 


Done in February, 1916, from a drawing made from the Hotel Touraine, 
Brooklyn, in September, 1911. 


A view of the skyline of Manhattan behind which is the setting sun. 


{31} 


HEE EG EIN GiSsO Fb eG ri) ep oe ce iosoe ay) 








62. CALVARY CHURCH IN SNOW 7 by 476 inches 


70. THE ROOKS, SOUTH] PROM @sctim sie iis 
7 by 538 inches. Signed C. H. New York, 1916 in lower left corner. 


Done from nature in March, 1916, from the artist’s apartment window. 


ji- HES DRESSINGEA DIE 
5% by 4 inches. Signed: March 7, C. H. 1916 near upper margin: 
Done from life. 


A slightly draped figure of a young woman standing before a dressing-table. Over 
the table an oval mirror in which the figure is reflected. 


{ 32} 


(Cea tIN Gor he Gn Dp hs HASSAM 





72. CHURCH DOORWAY, SNOW 
7 by 538 inches. Signed: C. H. New York, 1916 in lower right corner. 


Done from nature in March, 1916. 
A doorway of the Calvary Baptist Church in 57th Street. 
Get 


A gothic stone doorway, partly covered by snow, in the centre of the composition. 
On the steps leading to the decor stands a man with a broom. 


73. THE SWIMMER, MORNING—FACING WATER 


@ by 57% inches. Signed: C. H. 1916 in upper left corner. 


Done in March, 1916, from posed model in studio, with background added 
from paintings made at the Isles of Shoals. 


A nude figure of a young woman standing in shallow water is faced to the right. A 
large rock behind the figure. To the right water and distant shore. 


74. [THE SWIMMER, EVENING—FACING LAND 


9 by 57% inches. Signed: C. H. 1916 in lower right corner. 


Done in March, 1916, from posed model in studio, with background added 
from paintings made at the Isles of Shoals. 


A nude figure of a young woman standing in shallow water with arms raised over her 
head is faced to the right. A large rock behind the figure and to the left water and 
distant shore. 


75 THE GODDESS 
g by 534 inches. Signed: C. H. 1916 on upper fold of drapery. 


Done in March, 1916 from posed model in studio, with background added 
from paintings made at the Isles of Shoals. Plate destroyed. 12 proofs 
only. 
A nude figure of a young woman with a band around her head 1s standing against 
a large rock. In her hands, which are upheld, are draperies which fall to the ground. 
To the right water and the distant shore. 


Foes | EAU TOsSCHOOR 
4 by 7% inches. Signed: New York, C. H. 1916 near right margin. 
Done in March, 1916, from a drawing executed on Seventh Avenue in IgIo. 


A row of small shops and doorways. Over the centre doorway is lettered “Alwyn 
Auto School.”” Before the same are two figures, the one to the right holding an um- 
brella under his arm. 


(gas 


TH Ee Bee EN GSO: Pe Ei lei se nay. 











71. THE DRESSING-TABLE 5% by 4 inches 


77. FIFTH AVENUE, NOON 
9% by 7% inches. Signed C. H. April 1, 1916 on base of building to left. 
Done from nature from a window at Fifth Avenue and 34th Street. 


First state, before the plate was cut down on the left to 7% inches, leaving 
the unbroken contour of the wall of the Altman Building. About 20 proofs 
printed. Second state, with the changes mentioned above. 


Cr lay ise: 


A view of Fifth Avenue in sunlight looking north from 34th Street. The roadway 
crowded with buses, cabs, and automobiles, and the sidewalks with pedestrians. 


78. THE WANING MOON 
2144 by 2% inches. Signed: May, C. H. 1916 in lower left corner. 
Done from a sketch made at the Isles of Shoals. 


A small nocturne. In the centre the waning moon shows over a hill. 


{ 34 } 


rie reOriEN GosO lh eGHiL.D EaHASSAM 














72. CHURCH DOORWAY, SNOW 7 by 536 inches 


79. NOCTURNE, COS COB 
3% by 4 inches. Unsigned. 
Done from a sketch at Cos Cob. 


A small nocturne with a full moon near upper left corner. To the left centre are 
several houses. Water with reflections in the foreground. 


So, WINTER, CENTRAL PARK 
4 by 7 wnches.. Stened:)March17, Cybele o tornearrigntemarcing 


Done from a drawing made in March, 1916. Plate destroyed. 2 proofs 
only. 


{35} 


THESE TCORINGS2O He Gh hi Pat Arey 





Sr) ORRING CEING a Tae ben In 
3% by 33% inches. Signed: C. H. 1916 in lower left corner. 
Done from nature. Plate destroyed. 14 proofs only. 


A group of trees in the foreground. In the middle distance to the right a bridge 
spans a roadway on which is an equestrian. 


82. RUE DE NEVERS 
73% by 3% inches. Signed: Paris, C. H. 1910 on farthest building. 
Done from a drawing made in Paris, 1910. Collection R. B. Moore. 
Plate destroyed. 28 proofs only. 


A narrow street between tall buildings. From the centre building on the left projects 
a lantern. In the street stand a team of horses and a man. 


83. RUE-DU CHAUZOUIZPERGT at Aiur. 
s by 37% inches. Signed: GC Hi io1o-on centieewale 
Done from a drawing made in Paris, tg10. Collection R. B. Moore. 


Plate destroyed. 1 proof only. 


4) -ZOUASZHOUSE SPARES 
538 by 4 inches. Signed: Paris, C. H. 1887 near lower left margin. 


Done from a drawing made in Paris, 1887. Plate destroyed. 5 proofs 
only. Collection R. B. Moore. 


A street corner with a number of pedestrians, in the rain the two in the foreground 
holding an open umbrella. Across the plate a row of four tree trunks. 


85. MONTMARTRE 
458 by 634 inches. Signed: Paris, C. H. 1887 near left margin. 
Done from a drawing made in Paris, 1887. Collection R. B. Moore. 


A small shop at the entrance of which stands a woman cooking French-fried potatoes 
over a brasier. In the front stands a small boy holding a pan. 


86. FISH SHOP, JERMYN®s REE PakON Oo. 
3% by 6 inches. Signed: London, C. H. 1gro in lower right corner. 
Done from a drawing made in London, IgIo. 


A small fish shop in which are displayed many fish. On a beam between two doors 
is suspended a row of six soles. 


{ 36} 


Qe a 








Ss 








77. FIFTH AVENUE AT NOON 74 by 7% inches 





‘ . = 
. 
x 
1 
* 
e 
Lad 
« 
\ 





(DELP GEN a nono) Le GH TD Be HASSAM 





87. THE BILLBOARDS, NEW YORK 
458 by 614 inches. Signed: New York, C. H. 1896 near lower margin. 


Done from a drawing made in New York, 1896. Broadway and 55th 


and 56th Streets. 


Several states with dry-point additions. Proof owned by Los Angeles 
Museum. 


A street crossing. In the street several cabs and an ice wagon. To the left a row 
of billboards and in the distance a tall building on which flies a flag. 


88. OLD SHOPS, NEW YORK 
3% by 6 inches. Signed: New York, C. H. 1902 in lower left corner. 
Done from a drawing made in New York, 1902. Collection C. H. 


A row of small shops, partly covered with snow. The second shop from the left is 
occupied by a shcemaker who displays his signs. On the sidewalk, which is covered 
with snow, are a pedestrian and a large barrel. The painting for which the draw- 
ing was made is owned by the Rhode Island School of Design. 


89. UNION SQUARE 
4% by 534 inches. Signed: New York, C. H. 1896 near lower right margin. 
Done from a drawing made in New York, 1896. Collection C. H. 


A street scene. On the sidewalk to the right are six pedestrians, the nearest being a 
woman carrying a box. At the curb are a cab and a hansom, and in the background 
a view of the park and distant buildings. 


Dome LINDEN LREE 
67% by 4% inches. Signed: C. H. 1916 in water. 


Done from a drawing made at Old Lyme, similar to the decorative panel 
in Miss Florence Griswold’s house at Old Lyme. Plate destroyed. 8 
proofs. 


Two nude figures are seated on a grassy bank, one other standing in the water. A 
small Linden tree almost fills the upper half of the composition. In the foreground 
water with many reflections. 


jee tie GREEKS DANCE 
814 by to inches. Signed: C. H. 1916 near left margin. 


Done from posed models in studio with background from paintings made 
at the Isles of Shoals. Plate destroyed. 15 proofs. 


Three draped figures with arms outstretched and hands touching standing on the 
shore between two large rocks. In the centre the sea and the distant shore. 


{39} 


PHES EEG FENG Sa O ba Tite Dil sea 





92. THE OLD ELM 


4% by 636 inches. Signed: Old Lyme, C. H. 1909 in lower left corner. 
Done from a drawing made in Old Lyme, tg09. Collection C. H. 


Ose RESECO 
4% by 6% inches. Signed: C. H. 1916 near lower right margin. 


Done from a pen drawing made as a study for a panel in the library of 
C. E. S. Wood, Portland; Oregon. “Plate destroyed.” 3 proois: 


Three nude figures, the one in the centre seated; the figure to the left holds a wreath, 
the figure to the right stands in shallow water. Two small trees divide the compo- 
sition. Large rocks in the background. 


94. TOLEDO 
618 by 958 inches. Signed: Toledo, C. H. 1910 on wall, upper right corner. 


Done from a water-color drawing made in Toledo, Spain, 1910. Proof 
owned by the Hispanic Museum. 


A street scene with three houses on the right. To the left from a wall projects a lan- 
tern. In the street two donkeys and a number of figures. The background a 
rocky hillside. 


95. OLD CHINATOWN, SAN FRANCISCO 
5% by 5 inches. Signed: C. H. 1904 near right margin. 
Done from a drawing made in San Francisco, 1904. | 
A bit of old Chinatown before the earthquake. 
NUT eA: 


A subterranean chamber—old Chinatown was largely underground—into which from 
the back projects a flight of stairs on which is a Chinaman. Another Chinaman 
stands at the right. Across the courtyard are a number of beams from which hang 
draperies. 


96. THE SUMMER SOFA 


714 by 5% inches. Signed: June 10, C. H. 1916 in upper right corner. 


Done from a model at the Studio, New York. Plate destroyed. 15 
proofs. 


A nude figure of a young woman seated, faced to the right, with legs drawn under 
her, upon a sofa. Her right arm, which supports her head, rests on a cushion. 


{40} 


(REP elEUN Gos heCH Li DBA AS 5AM 





97. THE FAR HORIZON 
107% by 838 inches. Signed: C. H. 1916 in lower right corner. 


Done out-of-doors with a posed model. Plate destroyed. 10 proofs. 
Symbolic of the forward vision—the hope of a better future for the world. 


The back of a nude figure of a young woman standing with arms outstretched look- 
ing toward right. In the background trees, bushes, and a rolling landscape. 


Doe OLANA’S POOL, APPLEDORE 
10% by 73% inches. Signed: C. H. 1916 in lower right corner. 
Done from nature, Isles of Shoals. 


A nude figure of a young woman standing in shallow water, facing front. Her arms 
are upraised arranging her hair. In the background rocks and rapidly moving 
heavy ocean surges. Proof owned by the Los Angeles Museum. 


Pete HIGH POOL 
4% by 3 inches. Signed: C. H. 1916 near right margin. 





Done from a drawing made at the Isles of Shoals. 


In the foreground a nude figure of a young woman seated on a ledge of rocks with her 
left foot in the water. The background a rocky shore with a view of the sea in the 
centre. 


100. MADONNA OF THE NORTH END 
634 by 4% inches. Signed: C2 H: 1916 upper left corner. 


Done from a drawing made in that part of Boston known as_ the “North 
End” where there were once fine old houses. Drawing in the Collec- 
tion Wm. Preston Harrison. Hassam Room, Los Angeles Museum. 


The facade of an old house showing a door and four windows. From the windows 
are hand lines of clothes. In the upper window to the right are a mother and child. 
There are also two figures in the doorway which 1s in shadow. 


Tome POR TOMOUW LHSBY ENING 


27% by 436 inches. Signed: Portsmouth, C. H. 1916 near lower left 
margin. 


Done from nature in August, 1916. 


A row of buildings on the river bank. In the centre a church steeple. To the right 
two tall smoking chimney-stacks. 


{4} 


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104. PORTSMOUTH DOORWAY 5% by 4% inches 


O02 ental eee 


6% by 4 inches. Signed: August 28, C. H. 1916 in lower left margin. 


Done from life at Portsmouth, in August, 1916. Plate destroyed. 4 
proofs. 


A draped figure of a young girl facing to the right with left arm raised above her 
head. 


03. DANCE IN THE GARDENSUEW OsGIGU@inis) 


5% by 4% inches. Signed: August 23, Portsmouth, C. H. 1916 in lower 
left corner. 


Done from life. 


Two draped figures seen against a background of bushes and garlands. The figure 
at the left faced to the right, the other figure facing out. 


{ 42} 


DEPeRERGHINGSssOP CHIL DE HASSAM 





104. PORTSMOUTH DOORWAY 


544 by 4% inches. Signed: Portsmouth, C. H. 1916 near lower right 
margin. 


Done from nature in August, 1916. 
Front doorway of the Warner House at Portsmouth, N. H. 
re ea eee ee Lae eV 


The facade of the old house showing the colonial doorway with an arched top, the 
whole in flickering light, with shadows cast by a horse-chestnut-tree whose branches 
fill the upper part of the composition. 


105. NEWPORT HARBOR 
67% by 6% inches. Signed: C. H. 1916 in sky. 
Done from nature in August, 1916. 
Second state dry-point additions. 


A view of the town from the river on which are several boats. Buildings and trees 
in the middle distance. A tall church steeple to the left of the centre. Trinity 
Church. 


106. NEWFIELDS, N. H. 
938 by 113% inches. Signed: C. H. 1916 in lower right corner. 


Done from nature in September, 1916, at the Whitcomb Farm, Stratham, 
New Hampshire. 


A rolling landscape. The foreground is meadows, among trees in which are several 
small houses. In the background is the small village of Newfields, N. H., near the 
famous boys’ school of Phillips Exeter Academy on the tidal river Squamscot. The 
sky, which occupies about two-thirds of the composition, is full of rolling clouds— 
a thunderstorm. L. A. M. 


togmertAL CGY ON ILE 
87% by 1134 inches. Signed: C. H. 1916 near lower left margin. 
Done after studies for a painting of the same name, in September, 1916. 


First state, before left cloud was slightly reduced and additional work in 
the reflections of the water to the left. About 4 or § proofs printed. 
Second state, with the changes mentioned above. There are now no 
large spaces in the water. Plate destroyed. 16 proofs. 


A large, round hill on which are a number of trees in the foreground, a small stream 
and three nude figures. 


{43} 


A ES Be ChEN GSO BSG ier eh ato. se ly) 








106. NEWFIELDS, N. H. 934 by 1134 inches 


Koh Wale Seine 


638 by 436 inches. Signed: C. H. 1916 in upper right corner. 
Done about September 15, from a drawing. Plate destroyed. 8 proofs. 


A nude figure of a young girl reclining against a large rock looking out over the sea. 
Rocks and surf in the middle distance. 


100. AUBERT ROUEEIER 
6 by 4inches. Signed: Chicago, C. H. Oct. 29, 1916 in upper left margin. 
Done from life at a half-hour sitting. 
A portrait of the print-seller, Albert Roullier, seated in his print cabinet. 


Half-length portrait of a man in a dark coat, wearing glasses and with very thick, 
white hair, who looks like a French abbé. 


{ 44} 


(ere ree riniN GorO BCH DE HASSAM 





ee ele eMODEIES RES TING 


5 by 5 inches. Signed: New York, C. H. 1916 in upper left corner. 
Done from life in the studio, November, 1916. Plate destroyed. 10 
proofs. 


A nude figure of a young girl seated against draperies on a sofa facing to the left. 


fame DOG BROKER S OFFICE, WALL STREET 


4 by 534 inches. Signed: New York, C. H. Nov. 8, 1916 in lower right 
corner. 


Done from nature. Plate destroyed. 13 proofs. 


In the centre a man stands arranging cards in a large score-board. To the left four 
figures grouped about a stock-ticker over which 1s an electric light. Then office of 


Post Bros., Wall Street. 


freee ALMOND TREE 


11 by 534 inches. Signed: C. H. 1916 in lower left corner. 


Done from posed model and from the painting of the same name at the 
studio, November 11, 1916. 


Nude back figure, full length, of a young woman with hands arranging hair, head 
turned to the left, is seen standing against an almond-tree. Proof owned by the 
Los Angeles Museum. 


113. JOHN BURROUGHS 
s by 4% inches. Signed: New York C. H. Nov. 17, 1916 in upper right 


corner. 
Done from life in a short sitting. 
A portrait of the celebrated naturalist. 


Nad Eee 


Three-quarter-length portrait of an old man with a white beard and with hands 
clasped in lap, seated upon a sofa, facing to the right. 


114. SELF-PORTRAIT 


11 by 7 inches. Signed with full name on the screen. 
Done from life and from a similar painting in November, 1916. Plate 
destroyed. 26 proofs. 


Half-length portrait of the artist with brushes and palette in hands faced to the 
right, looking out. Stands against a panelled screen. Proof owned by the Los 
Angeles Museum. 


{45} 


THESE GELLING ss © Pec ride Bar AS a Ah 











Lis en ee Ge EL DING 
5% by 3% inches. Signed: C. H. 1916 near centre at the top. 
Plate destroyed. 1g proofs. 
A half length full face portrait of the artist with needle and copper-plate in hands. 


116. THE WILLOW POOL 
714 by 9 inches. Unsigned. 


A nude figure of a young woman stands in a shallow woodland pool facing to the 
right with hands holding the branch of a willow-tree. 


Wee  lUste, Wiles TohOlh ye! 


5 by 8 inches. Signed: C. H. Washington, Dec. 7, 1916 in lower left 
corner. 


Made from nature when serving as a juror for paintings at the Corcoran 


Gallery. 


A view of the White House from the park, trees and bushes on either side. A flag 
flies from the flagstaff. 


118. WOODLAND STREAM IN JUNE 
4548 by 5% inches. Signed: 10 June, C. H. 1916 in lower left corner. 
Plate destroyed. 26 proofs. 
Second state with dry-point additions. 


A nude figure of a young girl about to enter a woodland stream. Two large willow 
trees in the foreground, several others to the left. Los Angeles Museum. 


119. BOULDER IN SNOW 


4% by 5% inches. Signed: New York, C. H. 1916 in lower margin at 
the centre. 


Made in Central Park. Plate destroyed. 9 proofs. 


A large boulder covered with snow 1s at the right, two large trees in foreground, others 


at the left and behind the boulder. 


120) #1. tPA ERICK SGA TIED Res 
87% by 107% inches. Signed: New York, C. H. 1917 in upper right corner. 


Made from nature at the window of a friend’s Fifth Avenue house. 


The west front of the cathedral. The steps and sidewalk are covered with snow, and 
a few figures. The building of the Union Club is seen at the right. Los Angeles 
Museum. 


{ 46} 


Ee HN GS Oke CE) DE EA So AM 





ieevi RS, 1. 
514 by 334 inches. Signed: New York, C. H. 1917 to the left and centre. 


Portrait of a lady with fur scarf and hat with wide brim, facing to the left. 


Pee NDER THE CUIFFS 
Beye oe iiciice wy olenca: G.hl.1917 tothe right at centre, 
Plate destroyed. 13 proofs. 


A nude figure of a young girl seated on the sand at the foot of a cliff, facing to the left. 
Wireecceweat, the lett. 


Poe. ABELONE SHELL 
87% by 6% inches. Signed: C. H. 1917 in lower right corner. 
Plate destroyed: 26) proois. 


Nude figure of a young girl kneeling on the shore. In her right hand she holds to 
her ear an Abelone shell. Rocks and bushes in the background to the left, while on 
the right a view of the sea and the distant shore. Los Angeles Museum. 


124. A NEW ENGLAND BARROOM 
5 by 53 inches. Signed: C. H. 1917 in lower right corner. 


An old-fashioned barroom. Before the bar stands a man in a dark suit of clothes 
and a light hat. A man behind the bar is seen in profile. On the walls a number of 
framed advertisements. 


meee LORM IN THE CATSKILES 
61% by 93% inches. Signed: June, C. H. 1917 in upper left corner. 
Plate destroyed. 21 proofs. 


A view across the river to the mountains where a storm gathers. In the foreground 
two fishing-boats with nets. 


126. NEW YORK PUBLIC LIBRARY 
64% by 5% inches. Signed: C. H. 1917 in upper left corner. 
Made from nature. Reversed. 


A view of the library from 42nd Street. Many automobiles and busses in the street 
in front and many pedestrians on the walks. Two flags fly from poles in front of the 
library, and at the right are two tall buildings. 


{47} 


THEA GEN GS20 FeG rie Es lisse 





127. LITTLE BRIDGE, MOONRISE 
234 by 6 inches, “signed: Ca Hi 1917 im) lowersleiticorner. 


A wooden bridge over which a man is walking crosses a small stream in the fore- 
ground. Several dark trees in the middle distance. In the background a hill over 
which is seen the rising moon. 


128.0 ELS ENG WIS 


73% by 536 inches. Signed: C. H. 1917 in lower left corner. 
Made at Cos Cob of the young girl who posed for the artist at the time. 
NEA. 


Three-quarter portrait full-faced, of a young girl in a white dress, standing under an 
apple-tree, the branches of which, with its fruit, form a background. The whole 
flecked with light and shadow, perhaps the only plate ever attempted of this effect. 


129) POLLY Iain 
6 by 83% inches. Signed: C. H. 1917 in lower right corner. 
Plate destroyed. 20 proofs. 


The draped figure of a young girl, half-length, full-faced, with arms extended, is seen 
against the background of a laden peach-tree. Portrait of the young girl who posed 
for it. 


130. UPPER MANHATTAN 


534 by 834 inches. Signed: Coytesville, C. H. 1917, June in lower left 
corner. 


Dry-point. 
The skyline of Upper Manhattan is seen across the Hudson River. In the fore- 


ground a row of barges. This was etched on the plate from nature from Richards’s 
restaurant overhanging the Palisades. 


131. THE FLAG 
5% by 4% inches. Signed: New York, C. H. May 2, 1917 in lower left 


corner. 
Plate destroyed. 7 proofs. 


A scene at Fifth Avenue near s9th Street. A large American flag hangs over the 
walk, on which are many pedestrians. In the distance are seen the trees of Central 


Park. 
{ 48} 


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Ieee eGyY PT LANE 
334 by 6 inches. Signed: July, C. H. 1917 in lower right corner. 
Dry-point. 


A winding road runs across the country to the sand dunes at the left. At the right 
a bank on which is an old, dead tree. 


fom EES OF HEAVEN 


6% by 6% inches. Signed: July, C. H. 1917 at left side near centre. 
Dry-point. 
In the foreground two large Ailanthus trees, the tree of Heaven, sacred tree of China, 


behind which are many smaller ones and bushes. Etched in dry-point in the gar- 
den of Mrs. Ruger Donoho at Easthampton. 


134. EASTHAMPTON 
7% by 11% inches. Signed: C. H. 1917 in lower left corner. 
Gel AY ASM: 


The village street bordered on both sides by large elm-trees. In the centre of the 
street are two dogs. At the left of the composition a picket fence, behind which is 
a colonial house. The Lion Gardiner House. 


eels HOUSE 

7¥4 by 10% inches. Signed: C. H. 1917 at bottom to right. 

First state, with sky. 14 proofs. Second state, with sky removed. 
The gable end of a little old house on Egypt Lane, Easthampton. There are two 
windows and a door. On the door of the house is fastened a Government proclama- 


tion stating that ““A man from this house is fighting in France.”’ Seated on the 
grass in the foreground is a young baby. 


mo. LHE PITHIAN PARM? BASTHAMBION 


7 by 107g inches. Signed: EKasthampton, C.3H. 1917 near the right 
margin of the centre. 


In the foreground a barn and three trees behind a rail fence. To the right a horse 
is grazing. In the distance a house and many barns and sheds, with a large grove of 
trees behind the same. This fine old farm has been cut up into building lots and the 
old house has been moved and the barns torn down. 


{51} 


THE EY CELUN GSO BAC EdD Des bial avi 





1377 WATER MILL 
6 by 57% inches. Signed: July 11, C. H. 1917 at right margin near centre. 
Made from nature at the place of this name near Easthampton. 
MiP ie Aces beeen ve 


In the foreground a wooden foot-bridge over which pass three figures. In the back- 
ground an old mill and in the extreme distance to the left a second bridge or viaduct. 


1338. NEWMARKET ROAD 
3% by 6 inches. Signed: July 26, C. H. 1917 near lower left margin. 
Dry-point. 

In the centre a large elm-tree casts 1ts shadow across a road which runs through the 


composition. To the left of the road behind the tree are several small houses and 
barns. 


139. WINNICUTT POND 
3% by 554 inches. Signed: June 23, C. H. 1917 in lower right corner. 
IVES U A eA ce vie 


A small pond near Exeter, N. H., in the foreground, on the shore of which are willows 
and a large elm-tree. On the far side of a hayfield, which is across the pond, are a 
number of trees and bushes. 


140. ELM ARCH 
4 by 43% inches. Signed C. H. 1917. 
Dry-point. 
The driveway entrance to the Whitcomb Farm, Stratham, N. H. 


1412 LE bewATE RING eleAe rE 
4 by 576 inches. Signed: July 17, C. H. 1917 in lower left corner. 
Dry-point. 
A large elm-tree overshadows a water pool beside a road which is on the right. On 
the road in the distance is a carriage. 


142. HICKORIES—DRY-POINT 
4 by 6% inches. Signed: Aug. 24, C. H. 1917 in lower left corner. 
Vite 


A row of seven hickories in a hayfield crosses the composition in the foreground. 
Many other trees and bushes suggested in the distance. 


{52} 








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EASTHAMPTON 


134. 





EUS EC HEN Gs OPeCHITDE HASSAM 





me. LHREE HICKORIES 
54 by 734 inches. Signed: C. H. 1917 in lower right corner. 


First state 20 proofs. Second state, a young Pan piping has been 
added near the rocks. 


Three large hickory-trees in the foreground cast heavy shadows on the ground under- 
neath. In the shadow are two large rocks. In the distance across a sunlit field are 


many other trees, and to the right a small house. Made on the Whitcomb Farm, 
Stratham, N. H. 


144. HICKORIES IN A HAYFIELD 


7 by 93 inches. Signed: Aug. 23, C. H. 1917 in lower right corner. 
M. F. A. 


A row of five large hickory-trees stand in a hay field. In the foreground the hay has 
been cut and lies in rows. In the distance a large, dark hill and other smaller trees. 
Etched from nature at the Whitcomb Farm. 


145. THE OPEN WINDOW 


8 by 614 inches. Signed: C. H. 1917 in the picture on the wall to the 
right. 


Plate destroyed. 17 proofs. 


A young woman in a white dress seated on a sofa faced to the left, beside an open 
window. Beside the sofa stands a rush-bottomed chair. 


Momene RED CROSS GIRL 
7 by 4% inches. Signed: C. H., Heroland, 1917 in upper left corner. 
Plate destroyed. 41 proofs. 
Made at one of the fairs for Heroland to help the soldiers. 

Full-face portrait of a young woman in the uniform of a Red Cross worker. 


Pein AVENUE OF THE ALLELES 


1434 by 934 inches. Signed: C. H. 1918 in lower left corner. 
Dry-point. 
A view on Fifth Avenue near sgth Street. Many flags flying from the houses on 
either side and a great number of pedestrians on the street. In the distance the 
trees of Central Park. The drawing was reversed on the plate, so the view is seen as 
ifs. 


iMseeNY VPre WITH RABBIT 


7% by 8% inches. Signed: C. H. 1917 in lower left corner. 


The nude figure of a young girl faced to the right and beside her stands a rabbit 
by the shore of a stream with a large group of bushes. 


{55} 


THE’ EE CHING S OR CHLEDEAHAS oat 








144. HICKORIES IN A HAYFIELD 7 by 934 inches 


149. THE GREEK PAGEANT DANCE 
538 by 6% inches. Signed: C. H. 1920 in lower left corner. 


A group of six young women in Greek costume with hands clasped are dancing on 
the grass. From drawings made at a war pageant in 1918. 


150. MIDSUMMER 
g by 6% inches. Signed: C. H. 1919 in lower right corner. 


Three-quarter length nude figure of a young woman, faced to the right, stands on 
the shore with hands arranging her hair. Around her waist is a girdle. Made at 
Gloucester, Cape winner ae 


iste EVENINGS GHIA? Big ip@) rus 
878% by 57% inches. Signed: C. H. in lower right corner. 
Three states of the plate, graver and dry-point additions. 


The nude figure of a young woman seated on a large rock, faced to the left. In the 
background the sea, on which is a boat with one sail. 


{56} 


THE DCHINGS OF CHILDE HASSAM 








Dt 


150. MIDSUMMER 9 by 6% inches 


Pee GREEK DRESS 
6 by 3% inches. Signed; C..H. July 11, tor9 near left margin, 


The draped figure of a young woman in Greek dress and sandals stands at the foot 
of a cliff. She is looking toward the left. In the distance between cliffs is the sea. 


153. NEW YORK AND THE HUDSON 


958 by 1134 inches. Signed: Studio, C. H. 14 March 1920 in lower 
right corner. 
A view of New York from the Palisades. In the river are many steamships and 
barges, and in the foreground two boys are flying a kite. The domelike structure 
on the left is the Hell Gate bridge. The drawing was reversed on the plate, the print 
is seen as it is in natural arrangement. 


{57} 


THE EP CHUN GS-0 PO CHE DE FrA SoA M 





4a. LAE DEEP eS HARD AiG igi. 
53% by 758 inches. Signed: C. H. 1920 in lower right corner. 
ViEsE aes 


Three nude figures of young girls standing on a rock facing to the right. Beyond 
is the sea and ocean surges. 


Souvenir of the Isles of Shoals. 


155. Gaile O20 
334 by 3 inches. Signed: N. Y. C: H. 1920 near, lower leiticommer 
Gaal 

A portrait bust of the artist, full-faced, looking toward the right. 


156. ANNA 
5 by 538 inches. Signed: New York, C. H. 1920 near margin to the right. 


Portrait bust of a young woman with a large dark hat. In her hands are seen the 
handle of a parasol. 


1577) sbi h DANBURigerLLisle 


8 by 12 inches. Signed: C. H. 1920, Bethel, Conn. near lower right corner. 


In the foreground are meadows in which are four cows. An elevated roadway, on 
which there is a man, crosses the meadow. To the left are hills and to the right a 
factory with a large smoking chimney stack. 


148. CHILDE HASSAN CON reo e. 


434 by 27% inches. Signed: C. H. N. Y. May 2, 1920 in lower left corner. 


A full-faced portrait of the artist in his painting smock. At the back to the left an 
open window. 


149. THE LION GARDINER HOUSES EAST ANTE ie 


934 by 14 inches. Signed: Oct. 8, C. H. 1920, Easthampton, in lower 
right corner. 
Creal Vie ane 

An old house with a picket fence stands behind a row of large elm-trees. On the 


walk a figure of aman. Uncle David Gardiner, a descendant of Lion Gardiner, lives 
in the old house. 


{58} 


DER ORG UNGSsOR CHIL DE HASSAM 








144. THE DEEP SEA BATHERS 534 by 754 inches 


foomen iii HAY BARN 
1038 by 14% inches. Signed: C. H. 1920 in lower right corner. 


Drawing in collection of Geo. J. Dyer. 


An old barn, the doors of which are open. On the floor of the barn a wagon loaded 
with hay on which stands a man tossing hay. Made from drawing done at the Whit- 
comb Farm. This real New England Farm was the summer residence of Mr. and 
Mrs. Charles H. Whitcomb and their family, life-long friends of the artist. 


fone tHE CHURCH TOWER, PORTSMOUTH 
814 by 6 inches. Signed: C. H. 1921 in lower left corner. 


es ig IVER 


A view of the town from the river. Behind many houses are elm-trees and a church 
tower. On the shore are three boats. 


162, OLD DOORWAY, EASTHAMPTON 


10 by 11% inches. Signed: Easthampton, C. H. July 28, 1920 in lower 
right corner. 


Oral VL BeeAg 


The doorway of an old house, The Nathaniel Dominy house at Easthampton, on 
either side of which are wistaria vines. In front of the door are two old millstones. 


{59} 


THE EVCHIN GSO Ke CODED ESA oo7 Ml 








155 Cai. 1020 334 by 3 inches 


163. HEAVY SURE, HIGH TIDES EAST A iO 
8 by 12 inches. Signed: Oct. Ist 1920, C. H. Easthampton. 


A view of the surf from the shore. Heavy clouds and strong rays of light in the 
distance. 


164. THE LITRE Re WILEOWws 
137% by 10 inches. Signed: C. H. 1921 in lower right corner. 


Nude figure of a young woman faced to the left is walking between two rows of 


willows. 


165. THE, BEACH, PASTHAMPTON 
g by 14 inches. Signed: Studio, C. H. 1921 in lower left corner. 


On the beach, on which is breaking a heavy surf, stand three nude figures in the 
shallow water that comes over the crest of the beach at high tide forming curving 
rythmic patterns. The two to the left have their hands upraised. 


{ 60 } 


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160. THE HAY BARN 103% by 141% inches 


fopme iil, SWIMMER, BASS ROCK 


74% by 3% inches. Signed: Studio, C. H. 1921 1n lower left corner. 


Nude figure of a young girl standing in shallow water at the foot of a cliff. She is 
looking toward the right. In the background the sea and a distant shore. 


167. THE SWIMMER—MODEL 


67% by 47% inches. Signed: C. H. in shadow behind the model’s left 
shoulder. 


Nude figure of a young girl standing before a mirror facing to the right. Made 
from the model, etched directly on the plate. 


168. LONG ISLAND SURF 


g by 5% inches. Signed: July 2, C. H. 1921 in lower right corner. 


Nude figure of a young woman standing on the shore and facing to the left. Behind 
the figure the sea and a heavy surf. 


{ 63 } 


THESE ET CEINGS*O PoC Id0D Ee ideas 





169. WALKING INTOVTHE SURE 
87% by 534 inches. Signed: Easthampton, July 18, C. H. 1921 in lower 
right corner. 
(ea Leavin eA ee 


The nude figure of a young woman standing on the shore facing to the right. In 
the background are sand dunes. 


170. RAIN DROPS: ANDsSURE 
838 by 6 inches. Signed: Easthampton, June, C. H. 1921 in lower 
right) commer: see L, 


The nude figure of a young woman standing on the shore with arms raised over 
her head. In the background the sea and a heavy surf. 


i7i. IN PH E*SURE SEAS THAI PT Os 


834 by 6 inches. Signed: June 26, Easthampton, C. H. 1921 in lower 
left corner. 


The nude figure of a young woman going into the surf with arms extended and look- 
ing to the left. 


172. INP tEESSURE IN SASS renal 


834 by 6inches. Signed: Easthampton, C. H. July 7, 1921 in lower left 
corner. 


Ge lan ls eve 


The back view of the nude figure of a young woman standing in the surf with arms 
extended. 


173. PORTRAIT, OF MRS haa Nee 


87% by 57% inches. Signed: July 15, C. H. 1921 in left margin near centre. 
Portrait of a lady in light dress and large hat seated before and with arm resting upon 
an open piano on which 1s a bowl of flowers. Etched at a short sitting from Mrs. 
Kiliaen Van Rensselaer in her cottage at Easthampton. 


174. THE “HOME SWEET HOME” COTTAGE, EASTHAMP TON 
97% by 117% inches. Signed: June C. H. 1921 in lower right corner. 


Made from nature directly on the plate. Consequently subject is re- 
versed. 
The gabled end of the famous old house covered with vines stands behind a fence, 
which is also covered with vines. In the foreground to the left a large elm-tree which 
casts its shadow over the roadway. This is where the author of the world-wide 
known lyric passed his boyhood—and this old house was the motif of the celebrated 
song. First sung in London a century ago. 


{ 64 } 





a 


te Ge ? 
fit tes 


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Lis 





161. THE CHURCH TOWER, PORTSMOUTH 8% by 6 inches 





' = ¥ i ae 2 . ae CeO ee ele oe ? - ae 
oP ae 7 i. A Satay y y ‘“S 8 * a <a oy 4 


a i Vid if Pe y =o Ke ow 3 u Uk q r) 
- y >" 1" > Ta d ; . aa y te | Md v 
<M 
J ~ 7 
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Tier RG ELEN G ssOrIiGH iL DEAHASSAM 











165. THE BEACH, EASTHAMPTON 9 by 14 inches 


175. EY ENING, EASTHAMP LON 
104 by 11% inches. Signed: Aug. 3, C. H. 1921 in lower right corner. 


Before a large group of dark trees stand two nude figures of women with arms ex- 
tended over their heads. 


ioe OLLIE 
5% by 4 inches. Signed: C. H. 1921 in upper left corner. 


A half-length figure of a young girl with short hair. She is facing to the right. Por- 
trait of a model etched from life at a sitting. 


ig7eevlY NEW YORK WINTER WINDOW 
87% by 6% inches. Signed: C. H. New York, Feb. 15, 1922 at the top 
near centre. 
Plate destroyed. 24 proofs. 


A half-length portrait of the artist in a dark coat seated at a table. He is etching 
the plate by looking into a mirror. In the background a window through which are 


seen many snow-covered roofs. 


{ 67 } 


THE EPC OIN GoeO he Cri leit oa 





178. SURF SWIMMER GIN: THE-SUNELGET 


858 by 6% inches. Signed: C. H. 1922 in lower left corner. 


The nude figure of a young woman on the shore seen in bright sunlight. She is faced 
to the right and behind her are the sea and a heavy surf. 


179. CLAIRE MARTEL 


638 by 4% inches. Signed: New York, C. H. 1922 in right margin near 
Cente: 


Done from the model. 
Ce lkag Li NS 


A full-faced portrait of a young woman with dark hair and wearing a fur coat. 
A string of pearls around her neck. 


180. THE SURF SWIMMER 


7¥% by 9% inches. Signed: C. H. Easthampton, Sept. 7, 1920 in lower 
right corner. 


The nude figure of a young woman going into the surf with water above her knees 
is about to plunge into an incoming breaker. 


i8r. SslOGCKBRIDGE BOWEL 
4% by 834 inches. Signed: Studio, C. H. 1922 in lower right corner. 


The lake in the middle distance is seen through a group of trees. In the background 
are rolling hills. 


182.. COURT STREET APOR DVO 
614 by 756 inches. Signed: C. H. 1922 in lower left corner. 


A colonial house with a hipped roof stands behind a board fence at the corner of a 
street. In the foreground two large trees, and to the right another house. 


183. C. H—DRY-POINT 


74% by § inches. Signed; Feb, 14, C. H. 1922 near upper smarcinees 
the right. 


A half-length portrait of the artist seated at a table etching a plate. He is in a 
dark coat and wears a pair of large horn-rimmed glasses. 


io4. POSEY ROOK 


5% by 4 inches. Signed: C. H. 1922 in upper right corner. 


The bust portrait of a young girl with bobbed hair wearing a light dress with a large 
collar. She is faced to the right. The artist’s niece. 


{ 68 } 


4 
MIP IK vp, 
) |e 


i 
ig 
Lo¥ 


SNS 


ESN WN 
hy Wy 





170. RAIN DROPS AND SURF 83% by 6 inches 





oie eel UNG oeOReGHILDESHASSAM 





tos ee LAY OF LIGHT 
5 by 4 inches. Signed: C. H. 1922 in upper left corner. 


The half-length portrait of a young woman standing and faced to the left. Frag- 
ment of the painting, same title. 


186. MY MODEL IN A FUR COAT 


6 by 4% inches. Signed: 1922, New York, C. H. March 1¢ in lower left 
corer, 


Made from the model. 


Half-length portrait of a young woman in a fur coat and a dark hat with a white 
hance soe 1s faced to the right. 


187. WAY UPTOWN, (AUDUBON AVENUE AND 193RD STREET) 
4% by 9™% inches. Signed: C. H. 1921 and April, 1922 in lower right 
corner. | 


A view of upper New York from a rocky hill, on which is a group of five figures. 


isoeeoUNSET, EASTHAMPTON 
4% by 834 inches. Signed: C. H. 1922 in lower left corner. 


A hillside in front of which are five trees and over which is the setting sun. 


189. MONTAUK POINT 
6 by 10% inches. Signed: Studio, C. H. 1922 in lower left corner. 


In the foreground the nude figure of a young woman with left arm extended. To 
the left a row of cliffs and in the distance to the right a lighthouse. Montauk 
Light. 


190. MLLE. ERMINIE GAGNON 
g% by 7 inches. Signed: New Work, Aprils 1G. Hon1920) neat aright 
margin at centre. 
Made from the model. 


Half-length portrait, full faced, of a young lady wearing a fur coat and a large black 
hat. 


tee (Ge SRN: lahteried MIDIS) 
+ by 63% inches... signed: April 4eC bia ooo meupperale: Gecornet, 


Three-quarter-length portrait of the artist in white shirt and light trousers standing 
before a paint-stand on which is an artist’s palette. In his left hand he holds a num- 


ber of brushes. 


{71} 


THEVE PCHING SO}. C Eig Dibra 





[O2=. PELEMN S POR ONS (Siini2 


13 by 9% inches. Signed: New York, April 1, C. H. 1922 in right mar- 
gin near centre. 


Made from the model. 


Three-quarter-length portrait, full faced, of a young girl seated. She wears an er- 
mine cape and a dark Napoleon hat with feathers. 


193; sl PIE SRORITR AT er UlNiie is 
10 by 7% inches. Signed: New York, C.-H. March $5-1922- 
Made from Albert Smith, who was painting a portrait of C. H. 


Half-length portrait of a man painting a portrait on a large canvas. 


lod) BNE PE EDORE 


10% by 7 inches. Signed: C. H. 1922 in lower left corner 


Nude figure of a young woman standing on the shore at the foot of a cliff facing to 
the left. Between cliffs are seen the sea and the distant shore. 


LOS bile See 
538 by 3% inches. Unsigned. 
Made from the model. 


Half-length figure of a young girl. Her arms, which are held at her waist, support 
drapery. 


196.. ALONG THE SHORE) BAST Har Ton 


47% by 7 inches. Signed: New York, C. H. 1922 in lower right corner. 


The nude figure of a young woman standing on the shore with arms extended facing 
to the left. In the background the sea and surf. 


1077 OD LREEIBINSB UT Eo 
538 by 4% inches. Signed: C. H. 1916. 


Made from nature, while on a visit in Buffalo, from the window of the 
hotel. 1 proof was pulled. Collection of C. H. 


Plate was lost. 


198. MY MODEE RESTING 


67% by 53% inches. Signed: April 10, C. H. 1922 in upper left corner. 


Portrait of a young girl with light drapery, full faced, seated on a sofa. Made from 
the model directly on the plate. 


{72} 











174. THE ‘““HOME, SWEET HOME”’ COTTAGE, EASTHAMPTON 974 by 11% inches 


. 
‘ 


a 





PES ie leN CosOreCHLL DE HASSAM 











180. THE SURF SWIMMER 774 by 97% inches 


199. MONTAUK BEACH 
1314 by 9% inches. Signed: C. H. 1922 in lower left corner. 


The nude figure of a young woman on the shore at the edge of the water. She is 
looking toward the left. 


200. IN THE SUN, CAPE ANN 
834 by 113% inches, Signed: C. H. 1922 in lower left corner. 


Nude figure of a young woman seated on the grass arranging her hair. She is al- 
most surrounded by rocks and small bushes. The painting is in the Duncan 
Phillips Collection, Washington, D. C. 


BO bh DGEeA ORD slay NEE 


87% by 11% inches. Signed: C. H. 1905 and 1922 in lower left corner. 


In the left foreground a large group of trees. In the centre a wooden bridge crossing 
a stream, on which is a single figure. 


In the background a rolling country. 


{75} 


THEE PC EENG SO FRG ELE Dib EaAtoc\a 








181. STOCKBRIDGE BOWL 44 by 834 inches 


202. “WAL KINGIOUT OF Tiibeou in 


13 by 9 inches. Signed: C. H. 1922 in lower left corner. 


The nude figure of a young woman is seen walking out of the water. In the back- 
g ry. g £ 
ground sand dunes and small bushes. 


203:. LH REE LITTERS GI RU ssOR eee es 


658 by 536 inches. Signed: C. H. 1922 in lower right corner. 


Three nude figures of young girls standing at the edge of the water. Made from 
drawings as stated for the earlier plate. 


204. A UNTIED ES TALES SORDIE. 
936 by 414 inches. Signed: April 29, C. H. 1922 in upper left corner. 


Three-quarter-length portrait of a young officer of the United States Army in full 
uniform. In his right hand he holds a cigarette in a long holder. Albert Smith. 


205, GOLDENSRODSSEORE 


g by 13% inches. Signed: Bass Rocks 1919 C. H. 1922 in lower right 
corner. 


A nude figure of a young woman standing with arm extended on the edge of the 
water. In front of her the shore is covered with stones and rocks and in the distance 
a few small trees. Made at Bass Rocks, Cape Ann. 


{ 76 


tees ChiNG STOR CH LUDE HASSAM 








188. SUNSET, EASTHAMPTON 4M by 836 inches 


206. SUNDOWN, APPLEDORE 
4 by 6 inches. Signed: C. H. 1922 in lower left corner. 


Dry-point. 


207. FLYING SWANS 
6 by 4inches. Signed:.C. H. 1922 in lower left corner. 


The nude figure of a young woman with arms upraised standing at the edge of the 
ocean. In the background the sea and a heavy surf. The wild swans fly from Old 
Hook Pond to Georgica Pond. These ponds are separated from the sea by a few 
yards of sands. A surf bather looks up as these beautiful great birds, sacred to Apollo, 
swiftly pass just overhead with a whirr of wings—with the flash of sunlight. 


208. MARY MULLANE 


6 by 5 inches. Signed: Easthampton, June 13, C. H. 1922 in right mar- 
gin near centre. 


Made from a little Easthampton model directly on the plate. 
CIE, AR ACE 


Bust portrait of a little girl with bobbed hair in white dress with wide collar seen 
against a curtained window. 


Leora 


THEGETCHINGS OF )C HAD Be EAS sei! 











196. ALONG THE SHORE 474 by 7 inches 


209. SAND DUNES, MONTAUK 
6% by 1234 inches. Signed: C. H. 1922 in lower left corner. 
Plate destroyed. 5 proofs. Dry-point. 


In the foreground a group of trees in which there 1s a house. Over the trees a wide 
expanse of sand dunes and the sea. 


210. GIRL IN A MODERN GOWN 


10% by 6% inches. Signed: Easthampton, C. H. June 19, 1922 at 
upper left margin near centre. 
rede Mbwor\. Wik, 


A young girl in a silk dress and wearing a row of pearls stands in a passage between 
two rooms of a colonial house. She is looking to the right. Los Angeles Museum. 


{78 } 


Se ame eC ING oa ee Ll) Eee EARS S AML 








201. BRIDGE AT OLD LYME 876 by 11% inches 


211. HARBOR OF A THOUSAND MASTS 


97% by 10% inches. Signed: June 22, C. H. 1922 in lower right corner. 


A view of the town and harbor of Gloucester. In the foreground a rocky shore on 
which there are three houses. Many boats are in the harbor. On the skyline are 
the steeples of three churches. Drawing 1s in the H. Egginton Collection. 


212. BIRTH OF VENUS, MONTAUK 


13 by 7 inches. Signed: Easthampton, C. H. June 21, 1922 in right 
margin near bottom. 


Gal eee 


Nude figure of a young woman with one arm extended arranging her hair. She is 
looking toward the right. Behind her the sea and a heavy surf. 


{79 } 


THEE TCHINGS*O Pe CTHiie Dp Ee rat son 











208. MARY MULLANE 6 by 5 inches 


213. HOUSE ON THE MAIN STREET, EASTHAMPTON 
6 by 12% inches. Signed: Easthampton, April 22, C. H. 1922 in lower 
left corner. 
Drawing in the H. Eggington Collection. 
Cr leg lcAsvVe 
An old house with a piazza stands behind a fence. In the foreground are three 
large elm-trees. There is a figure on the piazza and another carrying an axe on 
the walk between the trees and the fence. 


21470 UE ETRE 
10% by 6 inches. Signed: 1922 C. H. in lower left corner. 
Dry-point. Made on the plate from nature. 
Plate destroyed. 15 proofs. 


A group of four birch-trees at the centre and to the left, and at the right two flowing 
birches. 


215. COLONIAL CHURCH GEOUGES Vek 


1338 by 9% inches. Signed: Gloucester, 1918, C. H. 1923, New York 
in lower right corner. 
Made from a drawing. Collection of C. H. Drawing in the collec- 
tion of Geo. Ja Dyer 
The old church seen between two rows of elm-trees, which cast their shadow across 
the walk leading to the church. 
{ 80 } 





210. GIRL IN A MODERN GOWN 107% by 6% inches 





(Tere iNGstORICHIDDE HASSAM 











2I1I. HARBOR OF A THOUSAND MASTS 9% by 107% inches 


ZigeeiNy MPH OF THE GARDEN 
458 by 1134 inches. Signed: January, C. H. 1923 in lower right corner. 
eee Vie 


A draped figure of a young girl dances in the centre of a garden. Beside her are 
four rabbits and many birds. Two trees in the foreground. Made in the artist’s 
Easthampton garden. L. A. M. 


217. HIGH TIDE, MONTAUK 

63% by 834 inches:. Sighed: Studio Janyew > Cel aio22: 
The nude figures of young women, one in the water and the others on the sand. 
Sand dunes in the background. 


{ 83} 


THE ET CHIN GSsOP OR TE Die iia vi 








213. HOUSE ON THE MAIN STREET, EASTHAMPTON 6 by 121% inches 


Pate Sie evsW iG Biib ibs. 


11 by 6 inches. Signed: C. H. 1923 in lower right corner. 


The nude figure of a young girl standing in shallow water near a cliff. She has both 
hands extended over her head, shading her eyes as she looks at the flight of a sea gull. 
To the left the sea and a distant shore. Los Angeles Museum. 


219. PHY LUISTIIN ASST REANI ET Bri 
814 by 4% inches. Signed: June 4, C. H. 1923 in lower left corner. 


Half-length portrait of a young girl in a white dress and with a large straw hat. 
She is faced to the left. A landscape with a village is seen in the distance. In the 
Catskills. 


220. THE LITTLE CHURCH AROUND. Tri COR ia. 
8 by 11% inches. Signed: Jany. 31, C. H. 1923 in lower right corner. 
Made from a drawing. Collection of C. H. 


Second state two nearest figures on left have been removed. 8 or Io 
proofs of first state. This subject was reversed on the plate, consequently 
it 1§ ‘Seen “as: 1t is in nature, 


The old church covered with snow is behind the iron fence. In the sidewalk in front 
are a number of pedestrians. 


{ 84} 


ete LONG SssOReGHIEDE HASSAM 








215. COLONIAL CHURCH, GLOUCESTER 1336 by 974 inches 


ote eV ERINON TT eV IEEAGE 
6 by 834 inches. Signed: C. H. 1923 in lower right corner. 


The main street of a village with a church with a white steeple in the middle distance. 
In the road is a cart drawn by two horses. This is the village of Peacham, Vermont, 
that our one-time Ambassador to Great Britain, George Harvey, made known as 
being one hundred per cent Anglo-Saxon. 


{85} 


THE EY CHINGS. OF CETTE Der o> Aue 











221. A VERMONT VILLAGE 6 by 834 inches 


222... EGAGESELEMS EAS Pra Non 
67% by 8% inches. Signed: 1923 C. H. in lower right corner. 
Drawing in collection of Geo. J. Dyer. 


An old house is seen behind a privet hedge. In the foreground are five elm-trees. 
A young girl is on the pathway between the trees and the hedge. 


223) ANS EAST EANID TONS Nees 
87% by 738 inches. Signed: July 11, C. H. 1923 in lower left corner. 
Drawing in collection of Geo. J. Dyer. 


Old houses and backyards with the farmer and his pail, and his wife hanging out the 
clothes on the line. They rent their house—the natives, and live in the barns or 
small outhouses for the summer. 


224. OU TE RSD ARBORMGLOUGEHS kinky 
81% by 10% inches. Signed: Gloucester, C. H. 1918 in lower right corner. 


A view of the harbor from a hill across the town. Made from a drawing. 


{86} 


EEE CHUN GosOrsC hl DEsHASSAM 








222. VILLAGE ELMS, EASTHAMPTON 676 by 87% inches 


225. PORTSMOUTH MANSION 
8 by 1134 inches. Signed: Portsmouth, Aug. 8, C. H. 1916, E. Studio 


1923 in lower right corner. 
Made from a drawing. Geo. J. Dyer collection. 


An old house with a piazza and three chimneys at the edge of the water. Underneath 
the piazza is a line of clothes and in the yard to the left a woman is standing. 


p20] INNER HARBORS GEOUCES FER 
79% by 1114 inches. Signed: July 19, Gloucester, C7 Elmore. |ulyalo: 
E. 1923 in lower left corner. 
Made from drawing. 


A view of the town from the river. On the river a number of boats, in one of which 
a man is rowing. ‘Tall masts of many vessels are seen in the centre and to the right. 


{87} 


DHE RAC EUUN G0) Le Edie Ds EaAes Sealy 








223. AN EASTHAMPTON IDYLL 87% by 736 inches 


227. THE SUNSROOM 
11% by 9% inches. Signed: Aug. 17, C. H. 1922 in lower right corner. 


Made from drawing (collection C. H.), of the artist’s niece, Virginia Rook. 
L. A. M. 


A young woman in a white dress, seated in a rocking-chair in a sun room, reading a 


book. 
{38} 





227. THE SUN ROOM 11% by 9% inches 





EE GLEN GeO CLT ID he HAS s AM 











228 LION GARDINER MANOR, GARDINERS ISLAND 6% by 1078 inches 


228. LION GARDINER MANOR 
G7 by 1074 inches») oiened: aept. 7 1927, Galiain slower left corer. 


Etched on the plate from nature. The subject is, therefore, reversed. 


In the centre a road, on which are three figures, leads to a large white house with 
three chimneys. In the background is a group of large trees. This is the Gardiners 
Island manor that has been in the possession of a Lion Gardiner since it was deeded 
to the first of the name by the Indians. 


Pome DHE HOME SWEET HOME sCO GEAG Pa INow: 


534 by 9 inches. Signed: Easthampton, C. H. 1923 in lower right 
corner. 


Made from nature. 


The front of an old shingled house covered with vines is behind a fence which is also 
covered with vines. In the foreground are several birds and at the left is a windmill. 
Another view and another time of the year to celebrate the famous old house showing 
also one of the old windmills used by the early settlers—and moved there. The whole 
place will be preserved as it is—the house being filled with rare Americana and relics 
of John Howard Paine. “Home Sweet Home” was first sung in London over 100 
years ago, the centenary having been celebrated in 1923. 


{91} 


TH EWE CC EIN GS. O eC Hie Die ri Assis Avi 











230. MARIE AT THE WINDOW 
7 by 10% inches. Signed: C. H. 1923 in lower right corner. 
Made from the model in the artist’s New York apartment. 


A young woman in a light dress seated on a window-seat looks out of a New York 
apartment curtained window at the skyscrapers of the lower part of the city. 


231. LEL Ee Wi LEE GON E> 
538 by 9% inches. Signed: Jan. 8, C. H. 1924 in lower right corner. 


Three-quarter portrait of a young woman in a long fur coat and a dark hat. She 
holds a pair of long white gloves in her hands. 


232, FIRE OPALS 
6 by 9% inches. Signed: C. H. 1924 upper left corner. 


Made from the painting done in 1912 now in the Hassam room (Wm. 
Preston Harrison collection). Los Angeles Museum. 


A young woman with a large flowered hat, black furs, and fire opals, a costume such 
as was worn, with the addition of gloves and an armful of American beauty roses, 
at outdoor weddings. Los Angeles Museum. 


233, THEGHU RCH FAIR Ol sie ya ae 
61% by 7% inches. 
Made from the painting owned by the Buffalo Museum. 


The white church in a setting of elms in autumn and several arbor vite evergreens 
with the clock face and windows make the dark notes. The painting is white, gold, 
and blue. Los Angeles Museum. 


234, THE JONATHAN BAK ERGEARM 
458 by 1338 inches. Signed: C. H. May 23d, 1924. 
Made from the painting at the suggestion of Ernest Haskell, who said 


it is the same proportion as Rembrandt’s “Gold beater field.” So it 
was made on a plate of that size. 


Across a field with some cotton-tails are seen the farm buildings and an old house. 
One of the last of the old farms left in Easthampton. This is where the Tile Club 
(a group of artists) who discovered Easthampton stayed in 1878. 


{92} 


i Par GLENGSSORTCHI TUDE HASSAM 








b 


238. NAPEAGUE BEACH 8 by 10 inches 


235. THE WASHINGTON MONUMENT 3rd 


12% by 8% inches. Signed: Studio C. H. May 29th 1924. Baltimore 
April 29th. 

First state I proof exists. There is work with the burin on the shaft 
and in the foliage and figures and on the walk in the second state. 


The shaft is seen from the sidewalk of a cross street with three steps into the park— 
it looms still higher perhaps in this drawing. There is the white marble fountain 
slightly indicated, some figures, and walking into the park is a young girl with a 
violin case. Mansions (the Walters mansion on the left) and the church spire on 
the right. 


{ 93} 


TH Ee Ee ECON GiseO RSC aD Aton) 





236. THE WASHINGTON MONUMENT, BALTIMORE 


834 by 1134 inches. Signed: Studio June 2nd C. H. 1924 and Baltimore 
April 29th. 


The tall classic simple shaft and base make one of the fine monuments of the world— 
most things in Europe look rather ornate and cheap in comparison—but no one ex- 
pects Americans to appreciate or know their own country. 


The drawing (collection of C. H.) was made in Baltimore with the two following 
ones on April 29th. Mr. Bendann, the print-seller, suggested the trip to his city. 
The view was taken from the Garrett Mansion (now used as the Baltimore Museum 
of Art) and shows a park with slender young trees just leafing and the towering and 
dignified shaft that dwarfs the surrounding buildings, the one on the right being 
the Peabody Institute. The drawings were all transferred to the plate and there- 
fore, having been reversed, are true to the natural arrangement of the subject. 


237. THE WASHINGTON MONUMENT and 
9g by 12 inches. Signed: JanenistaG@H igs. 


First state, I proof exists, sky having been changed in the upper portion. 


A view of the shaft from below in the park with a white marble basin with dolphins. 
Mansions on the left and a church spire on the right. 


238. NAPEAGUE BEACH 
8 by 10 inches. Signed: Aug. 23 C. H. in lower right corner. 


Four proofs exist from the copper. The plate has been steel faced. 


The nude figure of a young woman walking out of the surf. 


{94} 


ABELONE SHELL, THE . 
ALBERT ROULLIER 

ALMOND TREE, THE . 

ALONG THE SHORE 

ANNA 

APPLEDORE. 

ATHENAEUM, THE, PorTsMOUTH 
AT THE OPERA : 

Auto SCHOOL, THE ; 
AVENUE OF THE ALLIES, THE 


BARGES, THE . 

BATTERY PARK . 

BEACH, EASTHAMPTON, THE 
BILLBOARDS, NEw York, THE 
BIRCHES, THE 

BirD Book, THE 

BIRTH OF VENUS, Montauk 
BOULDER IN SNOW 
BREAKFAST Room, THE 
BRIDGE AT OLD LYME . 
BUTTERFLY DANCE—ONE FIGURE, THE 


CALVARY CHURCH IN SNOW 

C, H.—Dry-Po1nt 

C. H. Etcuine . 

CHILDE HassaAM—CONnTRE Jour 
C. H. in His Stupio 

GaeLO20.% ; 

CHIMNEYS, PORTSMOUTH, ‘THE 
CuHuRcH ACROSS THE WAY, THE 
CHuRCH AT OLD LyME, THE 
CuuRCcH Doorway, SNow 3 
CHURCH TOWER, PORTSMOUTH, THE 
CLAIRE MARTEL : 

COLONIAL CHURCH, GLOUCESTER 
COLONIAL TABLE, THE 
CONNECTICUT BARNS 
CONTRE-JOUR ; 

Cos Cos (Frontispiece) . 

Cos Cos Dock 

Court STREET, PoRTSMOUTH . 


DansBury Hits, THE . 
Deep SEA BATHERS, THE 
Drana’s Poot, APPLEDORE 
DANCE, THE 


DANCE IN THE GARDEN (Two FIGURES) 


DRESSING TABLE, THE 
DutcH Door, THE 


EASTHAMPTON ; 
EASTHAMPTON IDYLL, AN 
Ecypt LANE . 

ELM ARCH . 

ELMs IN MAy 

ETCHER, THE. ‘ 
EVENING, EASTHAMPTON : , 
EvENING LIGHT, APPLEDORE . 


Far Horizon, THE 
FirtH AVENUE, Noon . 
FirE DANCE 

FIRE OPALS 


INDEX 


CATALOGUE 
NUMBER 


123 
109 
112 
196 
156 
194 
14 
8 
76 


FisH SHop, JERMYN STREET, LONDON 
FITHIAN FARM, EASTHAMPTON, THE . 
FLAG, THE . 

FLYING SWANS 

FRESCO 


GARDEN OF THE LUXEMBOURG 
GEORGIAN CHAIR, THE 

GIRL IN A MODERN GOWN . 
GopDEss, THE 

GOLDEN Rop SHORE 

GREEK DANCE, THE. 

GREEK DRESS 

GREEK PAGEANT DANcE, “THE 


Hatcyon HI . ; 

HARBOR OF A THOUSAND Masts 

Hay Barn, THE 

HEAvy SurpF, Hicu Tine, EASTHAMPTON. 
HELEN BURKE A 
HicKoORIES—Dry-POorntT . 

HICKORIES IN A HAYFIELD . 

Hicu Poor, THE 

HicH Tipe, MONTAUK . 


CATALOGUE 
NUMBER 


86 
136 
131 
207 

OS 


“HOME SWEET HoME”’ Corrace, EASTHAMPTON, THE 174 


“HOME SWEET HoME”’ CoTtaGE No. 2, THE 
HOousE ON THE MAIN STREET, EASTHAMPTON 


ILLUSTRATOR, THE : 

INNER HARBOR, GLOUCESTER . 
In THE Sun, CAPE ANN 

IN THE SuRF, EASTHAMPTON 

In THE SurRF IN A STORM 


JOHN BURROUGHS . : 
JONATHAN BAKER FARM, THE 
JUNE 


Kitty RESTING . 


LANNION . 

LAUREL DANCE, “THE 
LAUREL WREATH, THE 
Lities, THE : 
LINDEN TREE, THE . 


Lion GARDINER HOUSE, EASTHAMPTON, THE f 


LION GARDINER MANOR 3 

LitTLE BRIDGE, MOONRISE . : 
LITTLE CHURCH AROUND THE Corner, THE 
LITTLE PIANO, THE . P 
LITTLE Move. RESTING, THE 
LITTLE Poo, APPLEDORE, THE . 
LitTLE WILLows, THE 

Lone BEACH . 

LoncG ISLAND SURF 

Lonc RIDGE . 

Low Tipe, Cos Cos BRIDGE . ; 
LucrnpA OF NEW YorK, THE 


MLLE. ERMINIE GAGNON 
MADISON SQUARE . : 
MADONNA OF THE Norta END : 
MANHATTAN ; 

MARIE AT THE Winpow . 


{95 } 


INDEX 





Mary MULLANE 
MIDSUMMER 

MonTAvukK BEACH . 
Montauk PoInt 
MONTMARTRE : 
MOONLIGHT, THE OLD House . 
MOonnrISE AT SUNSET . 

Mrs. H. 

Mrs. R. ‘ 

My MopEL IN A . Fur Coat 
My Mopet RESTING 

My New York WINTER WINDow 


NAPOLEON GIRL, THE . 

NeEw ENGLAND Barroo., A. . 
NEWFIELDS, N. H. 
NEWMARKET ROAD 

NEwrPort HARBOR 

NeEw YORK AND THE Hupson 
New York Pustic LIBRARY 
NoctTuRNE, Cos Cos 

NupE, HAMADRYAD 

NYMPH OF THE GARDEN . 
NYMPH WITH RABBIT 





OLD CHERRY TREE, THE. : 
OLD CHINATOWN, SAN FRANCISCO . 
OLp Doorway, EASTHAMPTON 


OLp DutcH CuurcH, FISHKILL VILLAGE ; 


O_p Custom Housg, PortsMouTH, THE 
O_Lp ELM, THE 

OLD House, THE . : 

OL_p House, CONNECTICUT, “THE 
OLp House, Cos Cos, THE 

O_p LACE 

OLp SHops, NEw York 

O_p ToL BripGE, THE . 

OLD WAREHOUSES, PORTSMOUTH 
OLEITEs: 

OPEN WINDow, THE : 
OUTER Hargor, GLOUCESTER 
Ox-CartT, THE 


PAINTING FANS . : 
PALMER'S Dock, Cos Cos : 
PHYLLIS DEANE 

PHYLLIS IN A STREAMER Har 
PLAY or LicHr ~~: 

POLLY KANE . 

PorTE St. MARTIN 
PORTRAIT 

PORTRAIT OF Mrs. K. VAN R, 
PORTRAIT PAINTER, THE . 
PORTSMOUTH DooRWAY 
PORTSMOUTH, EVENING 
PortTSMOUTH MANSION 
Posey Rook . 


Rain Drops AND SURF 

Rainy Day, St. MARkKs . 

READING IN BED 

RED Cross GIRL, THE : 
Roors, SOUTH FROM 75TH STREET, THE 
RUE DE NEVERS 

RUE DU CHAT QUI PECHE, Paris . 


CATALOGUE 
NUMBER 


208 
150 
199 
189 
85 
41 
24 
121 
60 
186 
198 
177 


192 
124 
106 


225 
184 


170 
20 
28 

146 
79 
82 
83 


St. PATRICK'S CATHEDRAL . 

St, SEPULCHRE, STRAND . 

SAanpD Dunes, MONTAUK . 

SCARF DANCE—Four FIGURES, THE 

SEA GULLS. 

SELF-PORTRAIT . 

SPRING, CENTRAL PARK 

STEPS, THE : 

STOCKBRIDGE BowL . ; 
Stock BROKER’S OFFICE, Watt S TREET . 
STORM IN THE CATSKILLS 

STREET IN BUFFALO . 

STREET IN NEWBURGH. 

SUMMER SOFA, THE . 

SUNDOWN, APPLEDORE . 

Sun Room, THE ae 

SUNSET, CONSTABLE’S Hook 

SUNSET, EASTHAMPTON 

SurF, THE . , 

SURF SWIMMER, THE 3 

SuRF SWIMMER IN THE SUNLIGHT . 5 
Swimmer, Bass Rock, THE 

SWIMMER, EVENING—FACING LAND, THE 
SWIMMER—MObDEL, THE . ; 
SWIMMER, Morninc—FAcIne WATER, THE 


Tuts HousE 

THREE HICKORIES 

THREE LITTLE GIRLS, THE 
THREE LITTLE GIRLS OF Cos CoB 
Tosy’s, Cos Cos . 

TOLEDO ‘ 

TREES OF HEAVEN 


UNDER THE CLIFFS 

UNION SQUARE . 

UNITED STATES SOLDIER, A 
UprerR MANHATTAN . 


VERMONT VILLAGE, A . ee 
VILLAGE ELMS, EASTHAMPTON . 


WALKING INTO THE SURF 
WALKING OUT OF THE SURF 
Waninc Moon, THE 


WASHINGTON’S BIRTHDAY—FIFTH AVENUE AND 23D 


STREET fae 
WASHINGTON MonuMENT, BALTIMORE, “THE 
WASHINGTON MONUMENT 2D, THE 
WASHINGTON MONUMENT 3D, THE 
WATERING PLACE, THE 
WaTER MILL. 


CATALOGUE 
NUMBER 


120 


Way Uptown (AuDUBON AVENUE. AND “193D STREET) 187 


WEsT POINT . : 

WHITE GLOVES, THE 

WuitE House, THE . 

Waite Kimono, THE 

WHITE MANTEL, THE . 
WILLow Poot, THE . 
WINNIcUTT POND . 

WINTER, CENTRAL PARK. . . 
WOODLAND STREAM IN JUNE . 
WritTING DEsk, THE 


YoOuNG PAN PIPING . 


ZoLA’s House, PARIs . 


{ 96} 











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